Capsule reviews for Feb. 24

Ambush

A war movie as generic as its title, this uninspired thriller set in Vietnam lacks the character depth or sociopolitical context to generate much emotional impact. Apparently inspired by a true story, it centers on a general (Aaron Eckhart) who orders a dangerous mission for a captain (Jonathan Rhys Meyers) and his men to secure valuable intelligence before it falls into enemy hands. The film struggles with authenticity amid its low-budget trappings as it aims to salute the bravery and sacrifice of our troops on the front lines. Setting so much of the action in dark caves and tunnels prevents the stakes from heightening as intended. (Rated R, 104 minutes).

Bruiser

While navigating some third-act contrivances, this gritty coming-of-age melodrama is a sharply observed examination of toxic masculinity and fractured family dynamics. It follows Darious (Jalyn Hall), a sensitive 14-year-old starting to resent his protective stepfather (Shamier Anderson) when he encounters his estranged birth father (Trevante Rhodes) and becomes enamored with his free-spirited ways. Their encounters re-open family wounds and place Darious in the middle of a power struggle. As Hall (Till) provides an emotional anchor, the raw but deeply felt directorial debut of Miles Warren conveys humanity and hard-earned sympathy for its authority figures, along with the boy forced to grow up before his time. (Not rated, 100 minutes).

Bunker

Lacking consistent suspense or scares, especially considering its harrowing setting on the battlefields during World War I, this British genre hybrid winds up more tedious than thrilling. It centers on an abandoned German bunker, where Allied troops are being given a crash course in trench warfare prior to a daring mission traversing no-man’s land to claim enemy territory. That’s challenging enough, but then a sinister presence traps the men in tight quarters, leading to a desperate fight for survival that has little to do with the actual conflict. Any potential intrigue fizzles out between the thinly sketched characters, clumsy dialogue, and perfunctory narrative twists. (Rated R, 108 minutes).

Give Me Pity

That request will likely remain unfulfilled for the obsessively self-absorbed protagonist in this experimental satire from director Andrea Kramer (Please Baby Please) about mental instability and the allure of fame. In the case of fledgling actress Sissy (Sophie von Haselberg), her break comes in the form of a one-woman variety special that enables her to feel the adoration she covets. Yet as the show progresses, hallucinations cause the segments to become gradually more surreal and disturbing. While probing Sissy’s headspace, Kramer stays true to her campy lo-fi vision, although the film never builds to anything substantial outside of its oddball repetition. It’s more unsettling than amusing. (Not rated, 80 minutes).

God’s Time

With style and attitude to spare, this dizzying comic odyssey involving three New York addicts connected through their recovery group ultimately feels detached and inconsequential. Best buddies Dev (Ben Groh) and Luca (Dion Costelloe) become alarmed when erratic behavior by their mutual crush (Liz Caribel) leads to suspicions that she might murder her ex-boyfriend. However, their race to find and stop her winds up threatening their friendship. Despite some annoying gimmicks, there’s an audacity to the go-for-broke approach of rookie director Daniel Antebi and his appealing cast in what could become a calling card for future projects without amounting to much on its own. (Not rated, 83 minutes).

Jesus Revolution

The proselytizing is too heavy-handed for secular moviegoers, although this faith-based period piece unspools a mildly intriguing true-life example of open-mindedness within organized religion. It takes place in California during the height of the peace-and-love movement in the late 1960s, when a pastor (Kelsey Grammer) welcomes a charismatic hippie preacher (Jonathan Roumie), much to the chagrin of his more traditional congregation. At the same time, a teenager (Joel Courtney) tries to find his faith amid the cultural shifts among Christians. The intentions are pure enough, but the film suffers from a narrow historical perspective and a muddled narrative focus while trying to push its message. (Rated PG, 119 minutes).

Juniper

Screen legend Charlotte Rampling’s captivating performance bolsters this slight yet heartfelt drama about fractured family dynamics. Rampling plays Ruth, a feisty alcoholic grandmother estranged from her family but sent to live with them in New Zealand while confined to a wheelchair. She clashes with her rebellious teenage grandson (George Ferrier) before each realizes that finding common ground might be a mutually beneficial coping mechanism. Although it covers familiar thematic territory, the screenplay by rookie director Matthew Saville is sprinkled with wry humor as it provides an incisive examination of grief, regret, reconciliation, mortality, dying with dignity — and perhaps most of all, cherishing your time together. (Not rated, 94 minutes).

Linoleum

Although its story occasionally tends to veer off orbit, a grounded performance by Jim Gaffigan brings emotional depth to this surreal odyssey about dreams, family, and a midlife crisis. Gaffigan plays Cameron, the host of a fledgling cable-access children’s science show whose wife and former co-host (Rhea Seehorn) seems ready to move on. Then a satellite crashes into his Ohio backyard, leading to a confrontation with a doppelganger and giving Cameron an unlikely opportunity to fulfill his childhood astronaut aspirations. As reality and fantasy blur, the screenplay by director Colin West playfully delves beneath its quirks to explore human connections with some clever final-act twists. (Not rated, 101 minutes).

The Quiet Girl

As the title suggests, this protagonist in this evocative Irish coming-of-age drama conveys emotion through body language and facial expressions more than spoken dialogue. But this tender, bilingual portrait of acceptance and compassion draws its greatest power from such introspective moments. Set in 1981, it follows an ostracized youngster (Catherine Clinch), precocious yet naïve, sent to live with relatives on a rural farm for the summer, where she finds a nurturing atmosphere — and a dark secret — that changes her perspective on family and belonging. Bolstered by stylish visuals and committed performances, the screenplay by rookie director Colm Bairead uses rich cultural specificity to yield universal resonance. (Rated PG-13, 94 minutes).

Rosebud Lane

The intentions might be pure, but this earnest drama about fractured family dynamics offers a small-screen exploration of familiar themes such as redemption and reconciliation. It centers on a filmmaker (Brad Abrell) who receives a card from the 10-year-old son (Bronson Leder) he’s never met. That prompts a visit that is well-received by the boy’s mother (Tyne Stecklein), and while father and son connect through a shared love of film, unforeseen problems complicate relationships in their small North Carolina town. The slow pace accentuates the heavy-handed tendencies in the screenplay by director John Lacy, which lacks the emotional depth to make a greater impact. (Not rated, 104 minutes).