Capsule reviews for Aug. 22

The Balconettes

Stylistic ambition surpasses narrative execution in this French genre hybrid that merges elements of a caper comedy, a drama about sisterhood, and a supernatural thriller with wildly uneven results. It chronicles three rambunctious roommates— an actress (Noemie Merlant), a writer (Sanda Codreanu), and a webcam model (Souheila Yacoub) — who spend most days interacting with passersby from their balcony. But after a violent incident, they find themselves trapped, both literally and figuratively, amid a Marseille heat wave. Buoyed by a committed cast, the screenplay by Merlant (Tar), who also directed, is playfully subversive yet unable to corral its disparate threads into a cohesive and impactful story. (Not rated, 104 minutes).

Eenie Meanie

Subtract the poor life choices and irresponsibility of its impulsive characters and there’d be nothing left of this crime saga that’s not funny enough as a comedy and not suspenseful enough as a romantic thriller. It follows Edie (Samara Weaving), a former teenage getaway driver who is lured back into her volatile past after an encounter with an ex-boyfriend (Karl Glusman) from whom she can’t seem to move on, and a crime boss (Andy Garcia) with a lucrative if perilous offer for both of them. Exploring some familiar thematic territory, there’s no reason to root for the unscrupulous protagonists or become invested in the arbitrary twists. (Rated R, 103 minutes).

Lurker

Finding a fresh perspective on contemporary fame and fanaticism, this incisive Canadian character study spotlights strong performances in exploring obsession, insecurity, and the fickle nature of showbiz. Working in retail, aspiring photographer Matthew (Theodore Pellerin) is invited to make a documentary on an enigmatic pop star (Archie Madekwe). But as he infiltrates the musician’s tight inner circle, he becomes drawn the celebrity lifestyle and must navigate a power struggle to keep his place. Although it’s more contrived in the second half, the screenplay by rookie director Alex Russell thrives in its moral ambiguity, building an appropriately awkward tension while smartly obscuring deeper motives and desires. (Rated R, 100 minutes).

The Map That Leads to You

More effective as a European travelogue than an escapist Gen Z romance, this eye-rolling drama from veteran director Lasse Hallstrom (The Cider House Rules) is a cutesy crowd-pleaser without a hint of authentic emotional grounding. Heather (Madelyn Cline) is on a girls’ trip in Barcelona when she meets Jack (K.J. Apa), a free-spirited Kiwi on a quest to retrace sites from his great-grandfather’s war journal. Heather becomes enamored with his sweetness and sincerity, even as the mysterious Jack is hiding a secret that could tear them apart. The leads manage a convincing chemistry, although the predictable script offers only fleeting charms amid its postcard visuals. (Rated PG-13, 96 minutes).

Pools

Appealing characters even out the tonal imbalances in this offbeat comedy that finds a fresh way of exploring angst-ridden millennials seeking fulfillment on their own terms. Kennedy (Odessa A’zion) is on the verge of expulsion from her upscale university while trying to discover her identity and a path forward. So she recruits some strangers for a night of rowdy pool-hopping in the local affluent neighborhood, triggering a surreal odyssey with unforeseen consequences. Despite an overreliance on surface quirks and mischief, the screenplay by rookie director Sam Hayes finds heartfelt sincerity in its quieter, contemplative moments that keep the film from dwelling in the shallow end. (Not rated, 99 minutes).

Relay

Strong performances and clever twists propel this cat-and-mouse thriller from director David Mackenzie (Hell or High Water) despite some rather egregious third-act contrivances. Sarah (Lily James) apparently is having second thoughts about being a whistleblower against her former employer, so she recruits Ash (Riz Ahmed), an intermediary who negotiates the return of top-secret documents to a corporate handler (Sam Worthington). But when the elaborate plan goes sideways, Ash must compromise his own meticulous methods to keep Sarah clean. Although the screenplay doesn’t always withstand logical scrutiny, the film offers a taut and suspenseful look at paranoia and corporate greed that stylishly updates its throwback influences. (Rated R, 112 minutes).

Suspended Time

We hardly need another contemplative exploration of isolation and taking stock during the pandemic, although this intimate relationship drama from French director Olivier Assayas (Clouds of Sils Maria) unspools some universal truths alongside its self-indulgent tendencies. The story with semiautobiographical roots is set at the rural childhood home of a filmmaker (Vincent Macaigne) who is enduring quarantine with his wife (Nine D’Urso), his brother (Micha Lescot), and his sister-in-law (Nora Hamzawi). As they sort through secrets and revelations, the talky screenplay yields some intriguing character dynamics yet overall feels more lumbering than profound. Despite some strong performances and stylish visuals, it never adds up to much. (Not rated, 105 minutes).

Trust

Far-fetched twists undermine the suspense in this #MeToo psychological thriller in which splintered narrative ideas never sufficiently come together. Dealing with the fallout from a social-media scandal, a rising actress (Sophie Turner) retreats to a secluded rental home for some privacy. But instead, she’s forced to navigate calls from a co-star (Billy Campbell) trying to cover up his misdeeds toward her just as bumbling robbers are breaking in. Turner (X-Men: Dark Phoenix) generates sympathy for an empowered character oppressed by the controlling men in her life, although the formulaic script doesn’t offer any meaningful new perspective on fame, power, or gender politics in Hollywood. (Rated R, 86 minutes).

We Strangers

Navigating tricky thematic territory with subtle sincerity, this character-driven drama is a quietly perceptive exploration of socioeconomic class, cultural assimilation, and racial microaggressions. It follows Ray (Kirby Howell-Baptiste), a commercial cleaner in suburban Chicago whose job for a doctor (Hari Dhillon) leads to various house cleaning gigs. Except when she claims to be clairvoyant to bilk the neighbors for more money, her lie spirals out of control, fueling an atmosphere of subconscious prejudice and suspicion. Howell-Baptiste (Queenpins) generates hard-earned sympathy for Ray, and the screenplay by rookie director Anu Valia brings a fresh perspective in probing privilege and subjugation, even when it lacks narrative depth. (Not rated, 87 minutes).