Capsule reviews for Aug. 28

Buddy

Although the amusing premise leads to a muddled payoff, this surreal horror-comedy at least remains committed to its bit, mischievously turning wholesome childhood nostalgia into a gory nightmare. It riffs on erstwhile kiddie television staple Barney, replacing a purple dinosaur with the titular orange unicorn (voiced by Keegan-Michael Key), who hides some sinister secrets behind his cuddly appearance and cheery demeanor. When some young co-stars become suspicious, they try to escape, and a nurse (Cristin Milioti) has strange visions about her past. Even as the thin concept feels stretched, director Casper Kelly (“Too Many Cooks”) adeptly juggles tones while the film retains a haunting satirical edge. (Rated R, 95 minutes).

Colony

Showcasing some striking macabre visuals, this labored zombie thriller from Korean director Yeon Sang-ho (Train to Busan) is a mildly subversive genre exercise that lacks the narrative intrigue to supplement its inventive action sequences. It follows a professor (Jun Ji-hyun) at a biotech conference tasked with leading a dwindling group of survivors to safety after a rapidly mutating virus unleashes an army of undead predators. With the facility sealed off, the survivors become trapped inside as their tormenters begin to mutate. As it meanders through predictable plot twists and shallow character development, the film’s ambitious ideas about technology, contagion, and humanity don’t have much bite. (Rated R, 122 minutes).

Coyote vs. Acme

Again proving the adaptability and timeless appeal of Looney Tunes animation, this comic adventure mixes charming nostalgia into an appropriately cartoonish contemporary satire of corporate greed and underdog redemption. This live-action hybrid finds the perpetually beleaguered Wile E. Coyote hiring a fledgling lawyer (Will Forte) to take out his frustrations on the executive (John Cena) of the company whose faulty products have failed him repeatedly during his endless pursuit to capture the Roadrunner. Providing more gentle amusement than consistent hilarity, the film’s inventive premise overcomes convoluted execution that derails the initially snappy pace. Still, it offers a fresh perspective on characters we’ve always taken for granted. (Rated PG, 101 minutes).

Filipinana

A nuanced exploration of power and privilege, this Filipino coming-of-age drama offers a thoughtfully understated portrait of socioeconomic class division, historical trauma, and institutional cruelty. It’s told through the eyes of Isabel (Jorrybell Agoto), a teenager working at a Manila country club, where she rubs shoulders with the elite on the golf course. She’s particularly drawn to an executive (Teroy Guzman) only to learn secrets that exposes the contrast between the club’s manicured luxury and underlying cultural decay. Driven by some intricate character dynamics, the deliberately paced screenplay by rookie director Rafael Manuel rewards patience with a haunting atmosphere, escalating tension, and incisive social commentary. (Not rated, 100 minutes).

Finding Emily

The offbeat charms outweigh the predictability of this romantic comedy that satirizes the perils of social-media fame while providing an amusing Gen Z refresh of genre tropes. Owen (Spike Fearn) is a lovelorn British college student who meets a girl named Emily at a party, tries to text her the next day, and realizes he has the wrong number. An unintentionally cringeworthy campaign to track her down backfires and earns Owen some ignominious viral attention. Meanwhile, a different Emily (Angourie Rice) offers to help, albeit with questionable motives. Fearn (Alien: Romulus) generates sympathy for Owen’s misguided quest, even as the screenplay grinds through some eye-rolling twists. (Rated PG-13, 111 minutes).

The Last Sunrise

The exotic beachside scenery draws you in, but this sun-drenched romance from director Carlson Young (Upgraded) is drowned by narrative contrivances. It’s set on Mallorca, where a developer (Eva Longoria) returns to her hometown for a luxury hotel project. She’s also trying to shelter her epileptic daughter (Maia Reficco) as she falls for a young fisherman (Fernando Lindez) who changes her perspective on love and commerce. However, secrets threaten to tear them apart. Their chemistry generates some steam, but this adaptation of an Anna Todd novel never yields much emotional investment, glossing over any meaningful subtext while treating Ry’s affliction as a convenient plot device. (Rated R, 106 minutes).

The Marching Band

For those able to withstand its melodramatic contrivances, this bittersweet French crowd-pleaser from director Emmanuel Courcol (Ceasefire) hits the right notes as a story of purpose, redemption, and strained family dynamics. It follows a renowned conductor (Benjamin Lavernhe) whose troubling medical diagnosis leads him to discover a biological brother (Pierre Lottin) who plays trombone for a community band in a downtrodden mining town. They seem to have come into each other’s lives at the perfect time, although harmonizing their relationship comes with difficult circumstances. Even if the script becomes predictably sentimental, and there’s a choppiness to the pacing, the film finds poignant rhythm in its humanity. (Not rated, 102 minutes).

The Salt Path

Despite its heartfelt intentions, the journey to catharsis in this adaptation of the controversial British memoir is paved with heavy-handed sentimentality. It tracks Moth (Jason Isaacs) and Raynor (Gillian Anderson), who lose their home following Moth’s diagnosis with a rare and debilitating neurological condition. As he deteriorates, the couple walks around the English coast, meeting strangers and gaining new perspective. Facing bureaucratic red tape and dwindling resources, they try to silently disguise their shame. Lovely visuals and fully committed performances add poignancy to a disputed true-life tale that offers a worthwhile plea for compassion toward the homeless. However, it needs to pick up the pace. (Not rated, 115 minutes).