Capsule reviews for Aug. 5

Bodies Bodies Bodies

As it checks off genre tropes, this satirical horror exercise effectively builds some character-driven tension alongside the formulaic mix of laughs and frights. It chronicles seven spoiled rich millennials who gather at a remote mansion for a weekend “hurricane party” of drugs and debauchery. As the storm intensifies, secrets are revealed, shifting loyalties reveal lingering hostility, mysterious deaths accumulate, and the survivors point fingers. Providing a fresh and amusing twist on a well-worn concept, the film maintains a subversive edge even as the characters are off-putting, and the identity of the victims and perpetrator becomes irrelevant. The cast includes Amandla Stenberg, Maria Bakalova, and Pete Davidson. (Rated R, 95 minutes).

Claydream

More than just animation buffs can appreciate this affectionate documentary about the life and career of “claymation” pioneer Will Vinton, which doubles as an insightful cautionary tale about the intersection of art and commerce. The eccentric Vinton won an Oscar and gained fame for his stop-motion animation style using plasticine clay. After enduring ups and downs for decades leading his Oregon company, his lack of business sense proved to be his downfall. Using a mix of interviews and lovely archival footage, director Marq Evans provides an even-handed look at capitalism and corporate realities while also capturing the creative genius of his subject and his enduring legacy. (Not rated, 96 minutes).

Collide

Employing familiar gimmicks to build urgency amid its intertwined stories, this vapid ensemble thriller from director Mukunda Michael Dewil (Vehicle 19) unleashes a parade of far-fetched contrivances more likely to inspire unintentional laughs. It’s set over one night at a restaurant, where various off-putting types converge to dwell on past regrets and hostilities, ponder bleak futures, gain revenge for perceived wrongs, and act on misguided impulses. However, the suspense is minimal as none of the characters is given sufficient depth to generate the slightest rooting interest in the subsequent big reveals. Among those squandered in the cast are Ryan Phillippe, Drea de Matteo, and Jim Gaffigan. (Rated R, 90 minutes).

I Love My Dad

Even if it’s all a ruse, the dynamics of father-son estrangement in this audacious character-driven comedy are both extremely creepy and darkly hilarious. It follows Chuck (Patton Oswalt), a father desperate to reconnect and make amends with his depressed adult son, Franklin (James Morosini). So after Franklin blocks his phone number and social media accounts, Chuck “catfishes” him by posing as a fake online love interest. Naturally, the ill-conceived scheme backfires. Morosini, who also directed and wrote the supposedly semiautobiographical script, focuses more on pushing boundaries than providing emotional depth. However, even as the scenario glosses over some obvious questions, Oswalt finds heart amid the cringes. (Rated R, 96 minutes).

Mija

Offering a fresh perspective on familiar themes, this powerfully intimate documentary tackles the complex dynamics of immigrant families without turning strident or heavy-handed. Specifically, it focuses on two young women who are each the first members of their families to be born in the United States — Doris Munoz, a music manager from Los Angeles, and Jacks Haupt, an upstart Chicana singer from Dallas. The two meet through social media and connect through their shared stories of following their musical dreams as their families struggle to stay together. Rookie director Isabel Castro compassionately weaves together the parallel stories with visual flair and enlightened cultural specificity. (Not rated, 88 minutes).

They/Them

While it scores points for inclusivity, this thriller lacks the character depth and thematic complexity to be much more than just another summer-camp slasher flick. The twist here is that it’s set at an LGBTQ conversion camp run by a counselor (Kevin Bacon) whose initial kindness and tolerance masks some ulterior motives. As the teenage campers — most of which have been sent there by disapproving parents — uncover some dark secrets, the appearance by a masked killer accelerates their plans for escape. Unfortunately, the directorial debut of screenwriter John Logan (The Aviator) doesn’t make the youngsters distinct or memorable enough for them to earn meaningful sympathy. (Rated R, 104 minutes).