Capsule reviews for June 13

Deep Cover

What if improv comedians became undercover cops? That’s the one-joke premise that generates some scattered laughs in this otherwise convoluted crime saga. A cash-strapped comedy teacher (Bryce Dallas Howard) is given the chance to make some quick cash by the London police, joined by two of her students — a method actor (Orlando Bloom) and a timid tech employee (Nick Mohammed) — except when they get in over their heads with a drug dealer (Paddy Considine) and his gang, their quick-thinking skills are tested like never before. The stars convey an amusing chemistry in a film that lacks the spontaneity of their characters, eventually becoming formulaic and predictable. (Rated R, 100 minutes).

The Other

Without generating enough laughs or frights — whichever the intent may be — this eye-rolling horror film relies on jump scares and ominous music cues without building the suspense to yield a more substantial payoff. Robin (Olivia Macklin) and Daniel (Dylan McTee) are a couple struggling with fertility when they adopt a nonverbal foster child (Avangeline Friedlander) with a traumatic past. The girl’s arrival coincides with hallucinations and erratic outbursts, especially targeting Robin, that suggest she’s hiding a dark secret. Squandering an intriguing concept and some cool practical effects, the moderately creepy screenplay by director Paul Etheredge (Angel of Death) lacks subtlety and grounding in reality. (Not rated, 99 minutes).

A Photographic Memory

Although it might seem familiar in concept, this documentary about artistic legacies and family bonds is quietly powerful on multiple levels. It chronicles the efforts of director Rachel Elizabeth Seed to learn more about her mother, who died unexpectedly when Rachel was just 18 months old in 1979. Her mom was Sheila Turner Seed, a multimedia journalist who earned acclaim for her series “Images of Man,” in which she interviewed famous photographers. That’s where Rachel begins forging a relationship through their common interests and inextricable curiosities. The deliberately paced film is less engaging as a self-portrait but poignant as an evocative glimpse into Sheila’s work. (Not rated, 87 minutes).

Sew Torn

Although its ambition sometimes exceeds its grasp, this offbeat crime thriller navigates some clever science-fiction twists with a winning balance of humor and suspense. It follows Barbara (Eve Connolly), a Swiss seamstress who happens upon a motorcycle accident that invites her to steal a case filled with money — rather than involving authorities or simply turning a blind eye. Each choice leads to a different moral and physical outcome as revealed when the episodic film splits into parallel threads in which fantasy and reality overlap. The noir-infused puzzle isn’t always worth solving in the screenplay by rookie director Freddy Macdonald, but the loopy narrative fabric holds together. (Not rated, 95 minutes).

Tatami

Seamlessly weaving an underdog sports drama into a sociopolitical thriller, this riveting black-and-white saga offers a powerful and timely example of courage and resilience in the face of oppression. Leila (Arienne Mandi) is competing for Iran at the judo world championships when her coach (Zar Amir Ebrahimi) receives a call from government officials demanding that Leila withdraw. When she refuses and keeps winning, the requests evolve into threats, forcing both athlete and coach to make harrowing moral decisions. Again highlighting the substandard treatment of women in its native country, the film tends to oversimplify its broader issues, but the two central performances keep it fighting. (Not rated, 103 minutes).

The Unholy Trinity

Some lovely visual backdrops only slightly enhance the uninspired action in this Western from director Richard Gray (Robert the Bruce) that recapitulates familiar themes of frontier justice and outlaw revenge. It’s set in 19th century Montana, where Henry (Brandon Lessard) returns to avenge his father’s death. He encounters the town sheriff (Pierce Brosnan), a mysterious drifter (Samuel L. Jackson), a sex worker (Katrina Bowden), and others who hold secrets that shift allegiances and seem to make everyone suspicious. With more talk than action, the film hints at deeper character arcs that never materialize, leaving a capable cast battling a compilation of genre cliches and contrivances. (Rated R, 93 minutes).