Capsule reviews for Feb. 9

Ennio

While it seems like overkill to give us the equivalent of a full cinematic symphony, this affectionate documentary portrait of the late Italian composer Ennio Morricone is both insightful and engaging. Renowned director Giuseppe Tornatore (Cinema Paradiso) goes beyond his frequent collaborator’s greatest hits over a six-decade career — from A Fistful of Dollars to The Hateful Eight — and finds its rhythm through his inspirations, artistic process, legacy in the industry, and complicated personal life. The first-person interview, shot before Morricone’s 2020 death, is revealing, But if revisiting his music isn’t enough, there are persuasive anecdotes from Quentin Tarantino, John Williams, Bruce Springsteen, Clint Eastwood, and more. (Not rated, 156 minutes).

Float

Aside from some lovely seaside landscapes, there’s not much to distinguish this predictable romantic melodrama that strains to warm hearts and jerk tears in equal measure. It follows Waverly (Andrea Bang), who retreats to a Canadian beach town to stay with an aunt (Michelle Krusiec) while she sorts out her life. She’s avoiding her overbearing parents, who want her to become a doctor. But sparks fly after Waverly meets a lifeguard (Robbie Amell) who rescues her from drowning and later teaches her to swim. Their chemistry along the mutual road to redemption gives the film an underlying charm, although contrived sentimentality limits the emotional payoff. (Rated PG-13, 100 minutes).

Marmalade

Its clever twists come too late to salvage this uneven and aimless hybrid of romantic comedy, prison drama, and bank-heist saga. It begins in prison, where simple-minded Baron (Joe Keery) is relaying his misdeeds to a cellmate (Aldis Hodge). He hopes to facilitate a partnership so he can escape and reunite with the alluring Marmalade (Camila Marrone), the free-spirited girl who transfixed Baron and steered him into a life of crime. However, secrets concerned everyone involved could cause the scheme to backfire. The somewhat manipulative script by actor Keir O’Donnell, who also makes his directorial debut, feels too detached from reality to generate a rooting interest. (Not rated, 99 minutes).

Molli and Max in the Future

Highlighted by some imaginative futuristic world-building, this offbeat science-fiction romance remains emotionally grounded enough to avoid becoming lost in space. Apparently set in a faraway galaxy, it’s a clever twist on When Harry Met Sally in which Molli (Zosia Mamet) and Max (Aristotle Athari) keep meeting by chance across several years and various dimensions, hooking up and breaking up and uncertain whether their destinies will eventually align in the cosmos. Despite some uneven forays into sociopolitical satire and the hit-and-miss nature of the talky script, the performances generate an endearing chemistry and the lo-fi vision of rookie filmmaker Michael Lukk Litwak conveys a heartfelt charm. (Not rated, 93 minutes).

The Monk and the Gun

Perceptively examining universal themes with rich cultural specificity, this uneven Bhutanese comedy from director Pawo Choyning Dorji (Lunana: A Yak in the Classroom) finds an emotional center amid its somewhat disjointed narrative. It’s set against the chaotic backdrop of the country’s first democratic election around 2005, when an American collector (Harry Einhorn) comes to the Himalayas to acquire a rare Civil War firearm from a monk (Tandin Sonam), only to have the prearranged deal fall apart in unexpected ways. The film injects subtle political commentary into its probe of elections and guns, but it’s mostly a lighthearted and gently amusing treatment aided by its scenic landscapes. (Rated PG-13, 107 minutes).

Out of Darkness

Relentlessly bleak and brutal, this prehistoric Scottish survival saga is more noteworthy for its ambition than its execution. It’s set 45,000 years ago, following a small nomadic tribe as it seeks a new home amid harsh surroundings. When a child is abducted near the clan’s campfire, they launch a vengeful manhunt armed with spears and torches — uncertain whether the perpetrator is a demon, beast, or mutant race — to preserve their future. Examining visceral fears and primal instincts, Andrew Cumming’s directorial debut only intermittently generates suspense within its stark landscapes and ominous atmosphere. Despite some genuine frights, the anachronistic film struggles to establish a deeper thematic resonance. (Rated R, 87 minutes).

Popular Theory

Any attempt to promote the value of science to youngsters these days can’t be all bad, and yet this innocuous coming-of-age comedy doesn’t match its honorable intentions by experimenting with anything new. Erwin (Sophia Reid-Gantzert) is an 11-year-old prodigy in high school, where her antisocial behavior concerns her mother (Cheryl Hines). With a science fair looming, she teams with a fellow young nerd (Lincoln Lambert) on a breakthrough way to achieve popularity for outsiders. But even if their theories are correct, it won’t replace true friendship. Such gentle lessons might resonate with the preteen target demographic, although the clunky screenplay is thin and obvious from the get-go. (Rated PG, 88 minutes).

Upgraded

Grafting a romantic-comedy framework on to an art-world version of The Devil Wears Prada, this slick and stylish effort from director Carlson Young (The Blazing World) is more contrived than charming. Ana (Camila Mendes) is a sheltered but ambitious intern for a high-end New York auction house who has a chance to impress her tyrannical boss (a scenery-chewing Marisa Tomei) during a London trip. On the plane, she innocently flirts with William (Archie Renaux), whose connection to a high-end dealer (Lena Olin) inadvertently causes chaos that could ruin her young career. The performers elevate mediocre material with some scattered laughs, but without much subtlety or surprise. (Rated R, 104 minutes).

Willie and Me

A showcase for two performers — one considerably more noteworthy than the other — this lumbering fish-out-of-water comedy at least benefits from having Willie Nelson’s extensive song catalogue serenading almost every scene. Eva Hassmann, who also wrote and directed, stars as Greta, whose lifelong obsession with Nelson leads to her leaving her overbearing husband in Germany to fly to Las Vegas for the country crooner’s farewell concert. Hopelessly naïve, she befriends a hotel clerk (Peter Bogdanovich) and an Elvis impersonator (Blaine Gray) but otherwise feels lost and overwhelmed during her surreal odyssey. While the earnest film occasionally matches Greta’s feisty underdog spirit, it’s more silly than sincere. (Not rated, 87 minutes).