Capsule reviews for May 31

Backspot

A fully committed performance by Devery Jacobs (“Reservation Dogs”) brings some grit and tenacity to this coming-of-age cheerleading drama that overall feels like a familiar routine. Jacobs plays Riley, whose drive for perfection — both in and out of competition — is ratcheted up by her demanding coach (Evan Rachel Wood) and a romance with her teammate (Kudakwashe Rutendo) that is tested when both she and Riley are chosen for an elite all-star squad. If the intent is to prove that cheerleaders are athletes, too, then the intense training sequences accomplish that mission, Yet with its narrow perspective, the film lacks periphery character depth and thematic complexity. (Not rated, 92 minutes).

Flipside

The lack of focus that ruins many documentaries is exactly the point of this deeply personal odyssey from director Chris Wilcha, which is both a messy and moving salute to the creative process. Wilcha, a Judd Apatow protégé, examines a career’s worth of unfinished projects and unsatisfying gigs while regretting what became of his idealistic teenage artistic ambitions. His resulting journey of self-reflection includes revisiting the antiquated New Jersey record store where he worked decades earlier. The film takes on an almost meta quality as it turns the camera around on the documentarian in a way that avoids vanity in favor of amusing and inspiring contemplation. (Not rated, 95 minutes).

Hidden Master: The Legacy of George Platt Lynes

You might not recognize the name of the pioneering photographer who broke barriers for queer artists during the 1930s and 1940s, but this enlightening documentary is a worthy introduction to his artistry. The rather straightforward film chronicles how Lynes made a living as a fashion photographer while privately amassing a homoerotic collection of portraits, many of which featured himself, his friends, lovers, and celebrity crushes. Lynes’ penchant for extravagance and affluence eventually led to him living above his means as his popularity faded. Such biographical details are accompanied by impressive access to his work, along with some intriguing anecdotes providing insight into his lasting influence. (Not rated, 96 minutes).

In a Violent Nature

Stripping the slasher genre down to its essentials — without music, visual gimmicks, or special effects — this unsettling low-budget thriller emphasizes old-fashioned visceral terror and extremely gratuitous gore. It’s set in a remote wilderness, where a reanimated corpse emerges from a graveyard seeking vengeance in accordance with an urban legend. Methodically seeking out his victims, the disfigured and deranged murderer has a penchant for dismemberment with rusty tools. Not for the squeamish or the impatient, the stylish and narratively spare directorial debut of Chris Nash favors long tracking shots to maximize its exploitation of common fears and paranoia, and the impact of its brutal practical kills. (Not rated, 94 minutes).

Jim Henson: Idea Man

Although it rarely captures the innovative and imaginative spirit of its visionary subject, this documentary from director Ron Howard pays affectionate tribute to the artistry and legacy of the late Muppets creator. Besides a career retrospective filled with amusing clips and anecdotes, the film provides insightful tidbits such as Henson’s becoming a puppeteer almost by accident and his unique relationship with his iconic star, Kermit the Frog. Meanwhile, Howard doesn’t gloss over Henson’s workaholic nature, which caused friction in his family, or his struggles to mesh creative and commercial success. The result salutes a pioneer whose name deserves to be remembered alongside his enduring characters. (Rated PG, 108 minutes).

Robot Dreams

Sometimes the simplest ideas yield the most delightful results. Take, for example, this dialogue-free animated comedy from Spanish director Pablo Berger (Blancanieves), which is an ode to the cultural melting pot of 1980s New York City from the perspective of a lonely dog and his loyal robot sidekick. Their friendship is tested when they become separated during a beach vacation, leaving both to wonder if they will ever see one another again. The film uses hand-drawn techniques to render its setting with rich detail, while populating it with an amusing array of anthropomorphic creatures. Despite some unnecessary detours, their adventure is playful and endlessly charming. (Not rated, 102 minutes).

Rose’s War

A ferocious portrayal by Imogen Poots (Green Room) galvanizes this fragmented true-life portrait of Rose Dugdale, a 1970s Irish Republican Army activist who perpetrated one of the largest art heists in history for her cause. Rebelling against her wealthy upbringing, Rose’s commitment to class equality is never in doubt, from organizing protests to engineering violent robberies to assuming fake identities and accents. However, the unraveling of her primary scheme triggers a spiral of paranoia and hallucinations concerning her moral compass. Although the nonlinear screenplay keeps the action at a frustrating emotional distance, the film captures the period while yielding an intriguing and thoughtful sociopolitical perspective. (Not rated, 98 minutes).

Summer Camp

An esteemed cast and a breezy vibe can only do so much to enhance the labored and predictable mischief in this comedy about spunky seniors learning to let their guard down. When best friends Ginny (Kathy Bates), Nora (Diane Keaton), and Mary (Alfre Woodard) reunite 50 years later at their beloved summer getaway, they renew old crushes and rivalries — with a food fight for good measure — while re-examining their past regrets and their future possibilities. The screenplay by director Castille Landon (Fear of Rain) examines aging, purpose and the bonds of sisterhood with a light touch that never really resonates beneath the contrived surface. (Rated PG-13, 96 minutes).

What You Wish For

Although it amounts to little more than a cinematic appetizer in the end, this twisted culinary thriller deviously recombines some suspenseful ingredients in a way that doesn’t leave a sour taste. Ryan (Nick Stahl) is a fledgling chef who flees his gambling debts by traveling to Latin America to stay with an old friend who has been hired to prepare a lavish dinner party. However, following a murder, Ryan becomes embroiled in a police investigation while desperately losing his own moral compass. The screenplay by director Nick Tomnay (The Perfect Host) suffers from mild contrivances but has just enough subtextual meat to unspool some wicked fun. (Not rated, 101 minutes).

The Young Wife

A visually extravagant odyssey of personal discovery also works as an intimate character study about commitment and mental illness in this uneven yet perceptive relationship drama from director Tayarisha Poe (Selah and the Spades). It’s set in the near-future, when Celestina (Kiersey Clemons) must deal with the pestering of friends and family during a chaotic pre-wedding party — which is actually a nonconformist wedding — while waiting for the arrival of her fiancé (Leon Bridges). Along the way, she questions her future, triggering a surreal emotional spiral of anxieties. Clemons (Dope) generates sympathy with a deeply felt portrayal that supplements the film’s offbeat eccentricities with relatable pathos. (Rated R, 98 minutes).