Capsule reviews for July 12

The Convert

Guy Pearce’s empathetic performance anchors this visually striking and morally intriguing period drama about faith and colonialism from Kiwi director Lee Tamahori (Die Another Day). Pearce plays a 19th century lay preacher sent to a British outpost in New Zealand, where he seeks redemption for a troubled past. While attempting to spread Christianity, he winds up trying to play peacekeeper amid a conflict between Maori tribes and the xenophobic locals who are apathetic toward their indigenous neighbors. Despite some heavy-handed tendencies, the film sidesteps white-savior narrative tropes as it conveys thoughtful compassion and an even-handed historical perspective while its story spirals toward an inevitable ultraviolent climax. (Not rated, 119 minutes).

Dandelion

A magnetic portrayal by Kiki Layne (If Beale Street Could Talk) galvanizes this music-infused character study exploring how personal experiences influence artistic dreams and the creative process. Layne plays the title role, a Cincinnati nightclub singer-songwriter who dreams of something bigger. On the verge of quitting, she decides to perform at a biker rally in South Dakota, where she begins an unlikely relationship with the frontman (Thomas Doherty) for a grassroots rock band that further clouds her future. Although the narrative structure is familiar, director Nicole Riegel (Holler) creates a stylish and evocative drama that finds its rhythm beneath the surface, as Dandelion discovers her voice. (Rated R, 113 minutes).

Longlegs

More than just haunting imagery and jump scares, this offbeat thriller slowly and steadily escalates into a visceral accumulation of psychological terror. In 1990s Oregon, young FBI agent Lee (Maika Monroe) and her boss (Blair Underwood) are tracking a sadistic serial killer nicknamed Longlegs (Nicolas Cage). As the investigation reveals possible satanic motives, Lee uncovers a disturbing personal connection to the murders. With a throwback aesthetic and an array of unsettling quirks, the screenplay by director Osgood Perkins (The Blackcoat’s Daughter) offers an intriguing twist on genre conventions. After a slow start, in steps an unrecognizable Cage, whose chilling performance is unhinged even by his standards. (Rated R, 101 minutes).

National Anthem

Offering a fresh perspective on familiar themes of acceptance and belonging, this quietly powerful coming-of-age drama resonates with authenticity. Dylan (Charlie Plummer) is a New Mexico construction worker who escapes his troubled family life during a day-labor job at a horse ranch. He develops a crush on the polyamorous lover (Eve Lindley) of the ranch owner (Rene Rosado) and assimilates himself into the resident collective of queer rodeo performers. As Dylan feels a sense of camaraderie, rookie director Luke Gilford keeps the pace leisurely, which seems appropriate. Although the periphery characters lack depth, the film captures its setting with a heartfelt compassion that never feels forced. (Rated R, 99 minutes).

Sorry/Not Sorry

The transgressions of acerbic comedian Louis C.K. have already been exposed, but this compelling if choppy documentary finds a fresh perspective in its broader discussion of double standards and cancel culture. The film extensively rehashes the allegations of sexual misconduct revealed at the height of the #MeToo movement in 2017, which coincided with the height of his fame. Then came the admission, the fallout, and the defiant comeback, in remarkably quick succession. In chronicling the women who spoke out, the film delves into the chauvinistic stand-up world that enabled his behavior, and perhaps still does. The uneven result doesn’t break new ground but is still provocative. (Not rated, 90 minutes).

Touch

Ambition might surpass execution from a narrative standpoint, although this bittersweet Icelandic romance from director Baltasar Kormakur (Everest) compensates with sweeping visual style and moments of gut-wrenching emotion. It centers on a widower (Egill Olafsson) just diagnosed with dementia who seeks one last chance at reuniting with a lost love. From there, we flash back to his days as a student in London, where his whirlwind affair with a Japanese restaurateur (Koki) ended with her sudden disappearance. Although the deliberately paced film sometimes wallows in melancholy sentimentality, it also provides relatable characters, relevant sociocultural intrigue, and a what-if scenario that generates a rooting interest. (Rated R, 121 minutes).