Capsule reviews for March 15

The Animal Kingdom

Ambition surpasses execution in this science-fiction hybrid from French director Thomas Cailley (Love at First Fight) that struggles to build a compelling narrative around its intriguing concept. It’s set in a dystopian society where selected humans have begun mysteriously mutating into animal species. One of them is a teenager (Paul Kircher) whose mother is already afflicted and whose father (Romain Duris) is on a desperate and harrowing quest to keep his family together while also being tracked by a detective (Adele Exarchopoulos). The film builds moderate suspense, but the underlying social commentary is muddled and the central themes and relationships lack the intended emotional impact. (Not rated, 128 minutes).

Billy and Molly: An Otter Love Story

In addition to the two equally lovable title subjects, this otter-ly charming documentary will make you fall for their shared home in the Shetland Islands. The coastal landscapes of the remote Scottish archipelago provide a scenic backdrop for this simple story of a farmer — his wife provides the affectionate narration — who begins caring for a malnourished otter he first spots on his dock, then earns his trust, and eventually develops an interspecies relationship of healing and belonging that’s mutually beneficial. The leisurely paced film is slight yet moving without overdosing on cuteness, with rookie director Charlie Hamilton James providing a uniquely powerful tale of companionship. (Not rated, 77 minutes).

French Girl

The scenic Quebec backdrop deserves a better story than this lackluster romantic comedy with a formulaic mix of clashing cultures and meeting parents, and little doubt about how it will all wind up in the end. Gordon (Zach Braff) is a Brooklyn teacher on the cusp of proposing when his bisexual French Canadian girlfriend, Sophie (Evelyne Brochu), is offered a lucrative job opportunity as a chef back home by her ex (Vanessa Hudgens). That leads to an awkward weekend where Gordon awkwardly meets Sophie’s family while their relationship is threatened, too. Any progressive relationship insight is compromised by flat-footed gags that feel more familiar than fresh. (Rated R, 109 minutes).

Frida

Enabling the groundbreaking Mexican artist Frida Kahlo to essentially tell her own story, this immersive documentary provides a fresh perspective on her life and legacy. The film’s narration comes directly from the diaries of the early 20th century painter, revealing some inspirations in her surrealist work that mixed styles and subjects but often centered on culture and challenging societal conventions. In that sense, rookie director Carla Gutierrez captures the spirit of her subject, incorporating animation to weave illustrations into the story. Where it lacks insight and context, the film compensates with focused intimacy and emotional resonance that eschews the conventional narrative trappings of a biopic. (Rated R, 87 minutes).

Little Wing

“This is nuts,” accurately exclaims Jaan (Brian Cox), a veteran racer of homing pigeons, late in this earnest but hopelessly contrived coming-of-age drama from director Dean Israelite (Power Rangers) about adolescent angst and fractures families. Kaitlyn (Brooklynn Prince) is a suburban Oregon teenager struggling to cope with an impending move with her mother (Kelly Reilly) following a divorce. Her desperate scheme to steal Jaan’s prized bird and sell it to the “Russian pigeon mafia” backfires, triggering a deeper downward spiral. The film provides some mild insight into a niche hobby, yet despite the credible performances, the emotional impact is compromised by a progressively far-fetched script. (Rated PG-13, 99 minutes).

One Life

A legitimate true-life hero is given a worthy big-screen salute with this reverent period drama elevated by a deeply felt portrayal from Anthony Hopkins. He plays Nicholas Winton, a British Jew who masterminded the rescue of hundreds of children from the Nazis in Prague during the early years of World War II — a secret he kept hidden until revealing it on a television program in 1988. We learn the details through flashbacks depicting a young Winton (Johnny Flynn) and his mother (Helena Bonham Carter) trying to escape persecution themselves in the 1930s. The straightforward approach enables the moving story and its remarkable subject to shine. (Rated PG, 110 minutes).

Prey

In between a harrowing plane crash and a vicious lion attack, the thrills are minimal in this survival saga that winds up as generic as its title. A missionary (Ryan Phillippe) and his wife (Mena Suvari) are forced to flee an African village by militant extremists. However, they become stranded in the sweltering Kalahari Desert with a pilot (Emile Hirsch) concealing a dark secret, plus threats from predators and the elements. Aside from its half-hearted study of religious and morality, the screenplay by director Mukunda Michael Dewil (The Immaculate Room) offers up human characters that are nowhere near as compelling as their four-legged carnivorous adversaries. (Not rated, 86 minutes).

Remembering Gene Wilder

Saluting the late actor and filmmaker with reverence and affection, this documentary stays true to its title with a no-frills retrospective of Wilder’s life and career that provides a treat for his legions of fans. It specifically focuses on the early collaborations with Mel Brooks — whose anecdotes are both amusing and enlightening — and later in his career with Richard Pryor, while recalling characters such as the iconic Willy Wonka, Leo Bloom, and Dr. Frederick Frankenstein. There are segments that lack depth and context, although the result is as funny and moving as you’d expect from a Wilder tribute doc that dutifully honors his legacy. (Not rated, 92 minutes).

Uproar

Committed performances bring a warmth and conviction to this heartfelt Kiwi coming-of-age tale, which finds nuance and poignancy beneath its nostalgic surface quirks. It’s set in the early 1980s, when Josh (Julian Dennison) is a timid teenager of mixed Maori ancestry who passively accepts the casual bullying of his rugby teammates and school administrators. But an incident prompts him to stand up for his family, including his brother (James Rolleston) and mother (Minnie Driver), and become empowered by his heritage. Dennison (Deadpool 2) makes a charming emotional anchor in a film that delivers a sincere message about racism and cultural identity while mostly avoiding heavy-handed formula. (Rated PG-13, 110 minutes).