Capsule reviews for July 14

Afire

As a wildfire rages in the distance, things heat up for the strangers who converge at a remote house in this relationship saga from German director Christian Petzold (Undine), which provides an incisive examination of personal fulfillment and the creative process. An aspiring novelist (Thomas Schubert) and a photographer (Langston Uibel) see their weekend retreat as the perfect chance to finish their respective projects. But when they must share the house with a mysterious guest (Paula Beer), their plans unravel in unexpected ways. Balancing absurdist humor with introspective drama, Petzold’s deliberately paced screenplay is driven by fascinating character dynamics as tension simmers beneath the surface. (Not rated, 102 minutes).

Black Ice

For those wondering why hockey isn’t a more diverse sport, this eye-opening documentary has the answers. It traces a disturbing legacy of systemic discrimination that has pervaded all levels of hockey, from the grassroots level to the pros — especially in Canada — as described by historians and well-known stars alike who relay heartbreaking stories of blatant racism being swept under the rug. The film salutes the strength of those who have broken barriers, and although the result is unfocused in stretches, it also conveys a hope that progress is slowly being made toward inclusion. Such revelations might not be surprising, but it scores its goals. (Rated R, 96 minutes).

The Channel

Adrenaline junkies and videogame aficionados might find some thrills in the bookend confrontations, but this ultraviolent crime saga otherwise is a generic story of murder, betrayal, and dishonor among thieves. After spearheading a bank heist and killing some cops in the aftermath, siblings Jamie (Clayne Crawford) and Mic (Max Martini) must team up to navigate the criminal underworld of their New Orleans neighborhood, whether fleeing from authorities or confronting a rival gang over their money. The screenplay by director William Kaufman (Warhorse One) hints at gritty authenticity but emphasizes action over emotional depth or character development, populated by a familiar assortment of rogues and scoundrels. (Rated R, 101 minutes).

Final Cut

A campy zombie movie emphasizing meta comedy over gory frights, this faithful yet pointless remake of the low-budget Japanese flick One Cut of the Dead from French director Michel Hazanavicius (The Artist) is gleefully irreverent but only intermittently amusing. The film-within-a-film concept follows a director (Romain Duris) hired to make a one-take zombie film. After a series of mishaps, he and his wife (Berenice Bejo) wind up in the lead roles as the production threatens to spiral out of control. More polished than the original, this labored version struggles to distinguish itself despite some scattered big laughs and the requisite blood for genre devotees. (Not rated, 110 minutes).

Glitch: The Rise and Fall of HQ Trivia

Not as fun as winning money on a game show, this documentary nevertheless yields a compelling variation on a familiar corporate cautionary tale. The short shelf life of most tech startups is no secret, but HQ Trivia is a more extreme example. The quiz app from the young entrepreneurs behind Vine became a hit in 2018 behind charismatic host Scott Rogowsky — whose candid anecdotes yield juicy insight — drawing millions of daily users and celebrity endorsements before crashing amid dueling egos, innovation struggles, and the fickle nature of its audience. Examining the HQ story within that broader context, the film finds a unique niche, like its subject. (Not rated, 88 minutes).

Gray Matter

Sometimes it’s not clear when those with superpowers are destined to be heroes or villains, as in this coming-of-age saga in which the ambition outweighs the execution. It follows Aurora (Mia Isaac), a teenager who inherited supernatural mental abilities from her mother (Jessica Frances Dukes), who cautions her against using them in public, causing friction. After a tragedy, however, Aurora becomes targeted by a group of strangers with similar powers, secret revelations, and unclear motives. More compelling in its setup than its payoff, the promising debut of director Meko Winbush becomes more muddled as it progresses, relying on cliches and losing its grounding in reality. (Not rated, 86 minutes).

Lakota Nation vs. United States

Detailing a troubling legacy of colonialism and subjugation that’s not entirely in the past, this insightful documentary traces the heartbreaking marginalization of Native American land and culture due to oppressive government policies. Mixing historical and present-day perspectives, it seeks to educate in terms of both bureaucratic frustration and ethnic pride, featuring the poetry of Layli Long Soldier as narration and Lakota tribal leaders as its primary interviewees. The result is infuriating but also enlightening as it shifts to a contemporary effort to preserve sacred lands in South Dakota from corporate interests and outside intervention. It’s persuasive without turning preachy, with a hint of cautious optimism. (Not rated, 121 minutes).

Theater Camp

You don’t have to be a musical theater nerd to appreciate the breezy charms in this affectionate mockumentary that strikes a balance between paying tribute and poking fun. It’s set at a cash-strapped camp in upstate New York where the founder is comatose, leaving her influencer son (Jimmy Tatro) in charge for the summer. Meanwhile, longtime counselors Amos (Ben Platt) and Rebecca-Diane (Molly Gordon) take charge of the eccentrics and misfits. The directorial debut of Gordon and Nick Lieberman is appropriately scrappy and cheesy, even if the story too often ditches the kids in favor of predictable plot mechanics. Still, it finds an amusing rhythm. (Rated PG-13, 92 minutes).

Two Tickets to Greece

The titular vacation is visually striking yet thematically familiar in this charming but predictable French comedy about the fragile nature of enduring friendships. Straitlaced loner Blandine (Olivia Cote) and impetuous Magalie (Laure Calamy) were inseparable in middle school, although an awkward reunion attempt for a Greek getaway reveals the rift that split them apart. Will some sun and a visit with Magalie’s free-spirited friend (Kristin Scott Thomas) cause a change in perspective or more hostilities to linger? The performers develop a winning odd-couple chemistry. However, the bickering becomes excessive in the screenplay by director Marc Fitoussi (Paris Follies), which struggles to modulate its laughs and pathos. (Not rated, 110 minutes).