Capsule reviews for Oct. 20

Another Body

Both a harrowing thriller and a cautionary tale for the social-media age, this documentary lacks broader insight yet generates appropriate outrage in probing the proliferation and unwitting subjects of deepfake pornography. The film centers on an image-conscious college student — given a fake identity — who is alerted to her face being digitally applied to someone else’s body in a series of online sex tapes. With laws not having caught up to the technology, she realizes her best hope is to find other victims and collectively expose the perpetrator. The uneven film is galvanizing in its portrayal of female victims speaking out against anonymous online male predators. (Not rated, 81 minutes).

Butcher’s Crossing

Deconstructing mythology and morality in the Old West, this deliberately paced drama unspools a character-driven cautionary tale of karma, desperation, and blind faith. It’s set in 19th century Kansas, where Harvard dropout Will (Fred Hechinger) arrives in a Kansas town looking for a fresh start. He agrees to bankroll a buffalo hunt for a ragtag expedition led by an eccentric trapper (Nicolas Cage) who claims to have insider knowledge. But the journey becomes a descent into madness. A subdued Cage anchors this solo narrative debut of director Gabe Polsky (Red Army), which weaves its rugged frontier landscapes into a harrowing story about actions and consequences. (Rated R, 108 minutes).

The Canterville Ghost

Unable to breathe new life into the venerable Oscar Wilde short story, this playful animated adaptation has some amusing moments but overall is too chaotic and disjointed. Updating the 19th century source material, it follows an American family who moves into the titular English estate, only to find it’s being haunted by the original owner (voiced by Stephen Fry). His efforts to scare the nonplussed newcomers don’t work, leading the phantom to reconsider his immortality with the help of a resourceful teenager (Emily Carey). There’s a whimsical charm beneath the broad hijinks, although it lacks the macabre wit to resonate beyond its target demographic. (Rated PG, 89 minutes).

Dicks: The Musical

More concerned with being outrageous and edgy than consistently funny, this go-for-broke musical variation on The Parent Trap at least deserves credit for unapologetic audacity. It’s the brainchild of newcomers Josh Sharp and Aaron Jackson, playing cocky salesmen who discover they are long-lost twin brothers. Their obligatory scheme to reunite their wildly eccentric parents (Nathan Lane and Megan Mullally) hits one low-brow snag after another. There are plenty of clever sight gags and one-liners, plus a flying vagina and an amusing cameo by rapper Megan Thee Stallion. Every scene overflows with homoerotic energy, but given the off-putting nature of the protagonists, the self-indulgent shtick wears thin. (Rated R, 86 minutes).

If You Were the Last

A modest yet touching saga of coexistence and codependence with a science-fiction twist, this romantic comedy freshens a familiar setup involving two characters essentially quarantined in a confined space. In this case, the astronauts (Anthony Mackie and Zoe Chao) on a stranded space shuttle have given up hope of rescue and become drawn to one another in their presumed final days. The film has fun with its what-if scenario by finding an agreeable balance of quirky comedy and inherent desperation. The sharp performances help capture a sense of wonder and tranquility, even if it stumbles when trying to switch gears while attempting to generate third-act depth. (Rated R, 89 minutes).

The Other Zoey

Remixing characters and concepts we’ve seen numerous times before, this romantic comedy might be indulging in genre tropes or attempting to subvert them, but either way, it’s a forgettable trifle. The title character (Josephine Langford) is a motivated college student and romantic cynic. Zach (Drew Starkey), the school’s star soccer player, gets amnesia and mistakes her for his girlfriend — also named Zoey. Their time together enables Zoey to spend more time with Zach’s cousin (Archie Renaux), who appears to be her perfect match. But is it worth coming clean? The mistaken identity hijinks include conveniently naïve enablers without adding up to much in the end. (Rated PG-13, 91 minutes).

The Persian Version

Self-indulgent gimmicks tend to overwhelm the more charming character-driven elements of this breezy comedy, which nevertheless channels its considerable energy into a slightly dysfunctional family saga that resonates across cultural boundaries. Leila (Layla Mohammadi) is an aspiring filmmaker in New York about 20 years ago, when her family comes to visit while her father recovers from a heart transplant. The resulting reunion forces secrets to surface, which causes considerable friction between Leila and her traditional mother (Niousha Noor). The semiautobiographical screenplay by director Maryam Keshavarz (Viper Club) recombines familiar themes into a fresh and vibrant package that manages a heartfelt mix of humor and sentiment. (Rated R, 107 minutes).

The Pigeon Tunnel

Even those less familiar with the acclaimed work of the late British espionage novelist John le Carre can appreciate this insightful documentary from director Errol Morris (The Fog of War), which offers an intimate examination of artistic inspiration and the creative process. The author, real name David Cornwell, candidly describes how the characters and stories in his high-brow books were shaped by personal experiences, particularly his volatile relationship with his father. Morris obviously is a devoted reader, but his questioning isn’t just from a fan’s perspective. Their interview, conducted shortly before Cornwell’s 2020 death, feels less like an elegiac tribute and more like a therapeutic catharsis. (Rated PG-13, 92 minutes).

Sick Girl

It’s not the ethically dubious premise as much as the ambivalent execution that dooms this otherwise spirited comedy about female bonding and arrested development. The setup is familiar, as Wren (Nina Dobrev) has drifted apart from her BFFs in the decade since they were in high school, as they’ve started families and she’s left to drown her loneliness in alcohol. Feeling sorry for herself, Wren unleashes a plan to force them back together, only to see it backfire wildly. The screenplay by Jennifer Cram follows predictable beats despite some scattered laughs along the way. The cast includes Brandon Mychal Smith, Sherry Cola, and Wendi McLendon-Covey. (Rated R, 99 minutes).