Capsule reviews for June 28

The Conqueror: Hollywood Fallout

Scrutinizing the misguided casting and narrative ineptitude of the titular Howard Hughes historical epic, a notorious 1956 flop starring John Wayne as Genghis Khan, is just the beginning of this uneven yet illuminating documentary. It proceeds to investigate the effects of downwind radiation from government bomb testing in Nevada on the film’s set in southern Utah, connecting the dots on why so many cast and crew on the production — not to mention area residents — later died from cancer. Setting aside conspiracy theories, director William Nunez assembles persuasive evidence of a massive government coverup. Both of the documentary’s angles are compelling enough to offset its meandering stretches. (Not rated, 116 minutes).

Gassed Up

A level of kinetic energy and raw visual style distinguishes this otherwise predictable British urban crime thriller that feels more familiar than fresh. Ash (Stephen Odubola) is part of a rambunctious London street gang that commits petty crimes aboard motorbikes. He sees the lifestyle as a temporary method of supporting his troubled family. However, when the schemes turn more violent and tragic, he finds himself fighting for survival. Without much character depth or emotional complexity, the film struggles to build sympathy for Ash and his cohorts, preferring to accentuate the allure of their enterprise. Between the gritty thrills, any socioeconomic subtext feels muddled and hollow. (Not rated, 102 minutes).

Janet Planet

Although too enamored with its abundant idiosyncrasies and visual gimmicks, this offbeat coming-of-age saga finds emotional grounding within its own unique rhythm and perspective. It centers on Lacy (Zoe Ziegler), a precocious yet misanthropic 11-year-old who navigates the revolving romantic interests of her free-spirited single mother, Janet (Julianne Nicholson). Along the way, Lacy’s passive-aggressive rebellion threatens to drive a wedge into their codependent relationship. Favoring extended takes and wide shots, the striking debut of director Annie Baker avoids cheap nostalgia while yielding a quiet resonance in its most intimate moments. There’s a sweetness beneath the caustic deadpan surface, thanks primarily to the two lead performances. (Rated PG-13, 113 minutes).

June Zero

Given its provocative true-life subject matter, the cumulative catharsis is muddled in this ambitious yet didactic historical drama from director Jake Paltrow (The Good Night). It re-examines the 1962 execution of notorious Nazi officer Adolf Eichmann from the perspectives of three different people directly involved with his incarceration — a Moroccan prison guard (Yoav Levi), an investigator  (Tom Hagy) who aided in his prosecution, and a rebellious teenager (Noam Ovadia) who plays a key role in building a crematorium for the body. Each has their own personal connection to Holocaust atrocities. As a whole, it’s a thoughtful project that struggles to coalesce its compelling segments. (Not rated, 105 minutes).

Reunion

An ensemble comedy that fails to optimize the talents of some funny people, this horror hybrid captures the awkwardness of class reunions without yielding any suspense or intrigue as a murder mystery. The setting is a snowy mansion, where guests renew past grudges and chase prior crushes. A storm forces a handful to stay overnight, during which the obnoxious party host (Chace Crawford) winds up dead, and everyone else is a suspect. Despite some scattered laughs, between the unlikable characters and flat dialogue, the film leaves little incentive to ultimately care who done it. The cast includes Lil Rel Howery, Billy Magnusson, and Jillian Bell. (Rated R, 94 minutes).

The Vourdalak

For those who buy into its distinctly offbeat vision, this beguiling French period fantasy is an amusing genre hybrid with subversive frights and satirical edge. The 18th century story resembles a gothic fairy tale in which an abandoned French envoy (Kacey Mottet Klein) seeks refuge at a remote house belonging to a strange family whose aging patriarch evidently has left to join a fight against invading Turks. When he returns, however, both the visitor and the family are alarmed at his strange behavior. Perhaps inevitably relying more on genre tropes in the second half, the directorial debut of Adrien Beau is unsettling and visually inventive. (Not rated, 91 minutes).