Capsule reviews for June 21

Chestnut

Angst-ridden millennials face difficult decisions about their futures in this pretentious low-budget drama that brings a fresh perspective to an otherwise familiar story of self-discovery. Annie (Natalia Dyer) is a recent college graduate who becomes entangled in a bisexual love triangle involving two friends (Rachel Keller and Danny Ramirez) who might not share her needs and desires. So Annie tries to sort out her feelings during some nights of contemplative clubbing. The screenplay by rookie director Jac Cron deserves credit for its progressive outlook on acceptance and sexual fluidity, although Annie’s brooding ambivalence come off as shallow and desperate without providing sufficient incentive for emotional investment. (Not rated, 87 minutes).

Copa 71

The most revelatory — and in a broader sense, most frustrating — part of this documentary is that its remarkable tale of soccer glory remains mostly unknown even for sports fans. Fortunately, this collection of archival footage and insightful anecdotes details the unofficial first women’s World Cup in Mexico in 1971. With eight teams playing in front of packed crowds, the event nevertheless was shunned by a large portion of the male-dominated soccer community, who didn’t stage an official such event until 20 years later. This straightforward chronicle offers a worthwhile salute to the pioneers whose contributions to the growth of the game had been largely hidden.  (Not rated, 89 minutes).

The Exorcism

While not quite as generic as its title, this character-driven thriller is too muddled to capitalize on its strong cast and the offbeat meta concept. Russell Crowe plays a troubled actor experiencing an existential crisis while shooting a horror movie that resembles The Exorcist. His estranged daughter (Ryan Simpkins) and young co-star (Chloe Bailey) wonder if he’s haunted by past addictions or if sinister supernatural forces are triggering his downward spiral. The disjointed film struggles to establish meaningful tension before settling for a parade of jump scares and genre tropes in the final act. The cast includes Sam Worthington, Adam Goldberg, and David Hyde Pierce. (Rated R, 93 minutes).

Fancy Dance

Rich cultural specificity gives a fresh twist to familiar themes in this heartfelt drama about fractured families and indigenous injustices. In the aftermath of her sister’s disappearance from their Oklahoma tribal reservation, ex-con Jax (Lily Gladstone) has been caring for her teenage niece, Roki (Isabel Deroy-Olson). But when Roki’s estranged grandfather (Shea Whigham) intervenes with authorities more friendly to outside interests, Jax resorts to desperate measures to keep her family together. Bolstered by Gladstone’s determined performance, the multilayered screenplay suffers from mild contrivances yet gains emotional traction as an intimate and resonant glimpse into how cultures and communities, particularly women, are systemically marginalized. (Rated R, 92 minutes).

Federer: Twelve Final Days

You won’t get much of a sense of what made Roger Federer one of the greatest tennis players in history from watching this documentary, although it does give his legions of fans a chance to salute his legacy. The film begins with his retirement announcement in 2022 after a legendary 24-year pro career, and the buildup to his final exhibition match alongside some of his friendly rivals. Using an observational style, director Asif Kapadia (Amy) shows obvious admiration for his subject, resulting in a guarded and controlled portrait. However, it does provide insight into the emotional toll when injuries force elite athletes to confront their future. (Not rated, 87 minutes).

Green Border

Despite its fractured narrative, this immigrant drama from acclaimed Polish director Agnieszka Holland (Europa Europa) builds to a cumulatively visceral and powerful exploration of how ongoing sociopolitical unrest impacts the innocent masses. Set around a decade ago, it begins with a family of Syrian refugees fleeing their war-torn homeland into Poland via Belarus. Seeking asylum, the newcomers are met with xenophobic and bureaucratic obstacles, hampering even those trying to help them. With its stylish black-and-white visuals, the film confronts familiar themes, yet is unflinching and poignant as it connects with characters from multiple sides of the conflict. The result is topical without turning preachy or heavy-handed. (Not rated, 152 minutes).

Thelma

A delightful portrayal by June Squibb (Nebraska) as the nonagenarian title character fuels this lighthearted if far-fetched comic revenge thriller that also examines aging, mortality, and independence with tenderness and compassion. Thelma is an elderly, technology-challenged widow who is bilked out of $10,000 by a scammer imitating her beloved grandson (Fred Hechinger). Rather than accept her loss, against her protective family’s wishes, she teams with a friend (Richard Roundtree) to track down the perpetrators herself. For those who buy into the silliness, the breezy screenplay by rookie director Josh Margolin is more amusing than thrilling as a cautionary tale, and Thelma provides a feisty rooting interest. (Rated PG-13, 97 minutes).

What Remains

Although it benefits from a strong cast, this character-driven drama, inspired by a real-life case involving a notorious Swedish serial killer, struggles to make a deeper emotional impact. It’s set in the 1990s, following the confession and conviction of an apparent murderer (Gustaf Skarsgard). However, both a detective (Stellan Skarsgard) and a therapist (Angela Riseborough) are skeptical given the man’s troubled mental state. Their obsession with finding truth and closure winds up changing each of them. Featuring some compelling twists and stylish visual flourishes, the screenplay by rookie director Ran Huang hints at broader thematic complexity, yet its introspective approach feels muddled rather than provocative. (Not rated, 128 minutes).