Capsule reviews for Oct. 6

The Caine Mutiny Court-Martial

William Friedkin’s final film is this riveting adaptation of the play based on the acclaimed Herman Wouk novel. Set entirely inside a courtroom, it updates the story to provide a more contemporary examination of truth, justice, power, ego, and institutional chains of command. A Navy lieutenant (Jake Lacy) is on trial after usurping his commanding officer (Kiefer Sutherland), who he claimed was mentally incompetent during a storm aboard their ship in the Middle East. The high-stakes case becomes heated under questioning from an unorthodox defense counsel (Jason Clarke). Invigorated by a stellar cast, particularly Sutherland and the late Lance Reddick, the film is repetitive yet suspenseful. (Not rated, 108 minutes).

Desperation Road

As it rehashes familiar themes of grief and despair, this brooding noir-infused drama captures an evocative Deep South texture while lacking the nuance to make its deep-seeded anguish resonate. It’s set in Mississippi, where Maben (Willa Fitzgerald) is a single mother trying to escape an abusive past and a tragedy that leaves her uncertain who she can trust. Her fate intertwines with that of Russell (Garrett Hedlund) — an ex-con trying to start over — and his estranged father (Mel Gibson). Despite some intriguing character dynamics, the atmosphere is more compelling than the story, which too often rambles between its generic confrontations involving sex, guns, and alcohol. (Rated R, 112 minutes).

Joan Baez: I Am a Noise

Although she’s best known for her iconic voice, this insightful documentary presents a well-rounded portrait of Joan Baez beyond her legendary folk singing career. Steered by candid recollections from its subject, the film uses archival footage and anecdotes to vividly recall the counterculture movement of the late 1960s, when Baez was in her heyday, and how her music was intertwined with political activism and peaceful protests. But it also intimately digs into her own struggles with celebrity and personal demons as her time in the spotlight fades. Alongside her cathartic testimony, the film overcomes some uneven stretches to offer a persuasive glimpse into her multifaceted talents. (Not rated, 113 minutes).

Mercy Road

Tracking a man’s solitary nighttime drive along a deserted highway, this tightly wound Australian thriller from director John Curran (Tracks) becomes stranded in the middle of nowhere. Tom (Luke Bracey) is bloodied and on the run. Frantic phone calls provide details. Apparently he’s searching for his missing preteen daughter, but he’s being blamed for her disappearance by his ex-wife and the authorities. Meanwhile, a mysterious stranger (voiced by Toby Jones) claims to have answers along with ulterior motives. Despite some gimmicks to ramp up the intensity, the film might have worked better as a short, because even at abbreviated feature length, it starts spinning its wheels. (Rated R, 85 minutes).

Monsters of California

While its 1980s throwback vibe yields some lo-fi charms, this science-fiction comedy lacks the subtlety and tonal consistency to incentivize emotional investment. It centers on Dallas (Jack Samson), a California teenager still grieving his father’s death while the rest of his family has moved on. Dallas and his stoner friends are fascinated by the paranormal, and when he finds one of his father’s old notebooks, it prompts an adventure and a discovery beyond their imaginations. Combining familiar coming-of-age themes, the feature directorial debut of Blink-182 guitarist Tom DeLonge offers some scattered laughs and frights, but stumbles in trying to provoke a deeper sense of existential wonder. (Rated R, 109 minutes).

The Royal Hotel

Don’t be fooled by the narrative nonchalance of this character-driven drama from director Kitty Green (The Assistant), which unspools a perceptive study of contemporary gender dynamics with style and attitude to spare. It follows best friends Hanna (Julia Garner) and Liv (Jessica Henwick), two Canadian travelers trying to make quick cash by taking temporary bartending jobs for a deadbeat innkeeper (Hugo Weaving) at a dingy pub in the Australian outback. Enduring catcalls and come-ons from the raucous male clientele tests their codependence and potentially their safety. Ferocious performances enhance this simmering thriller about resilience and toxic masculinity that skillfully maximizes discomfort and subverts genre conventions. (Rated R, 91 minutes).