Capsule reviews for Sept. 13

Believer

A potentially compelling examination of cults and their victims, this character-driven psychological thriller becomes muddled by narrative contrivances. While researching a book, young writer Kate (Ella Ballentine) is attacked in a courtroom by a serial killer (Kris Holden-Ried) known for acts of mind control. She awakens with no memory of the incident, but after moving in with her sister (Lauren Lee Smith) during the aftermath, her erratic behavior leads to questions about what really happened and why. There’s not much suspense in the screenplay by director Sheldon Wilson (The Unspoken), which unspools some generic twists rather than probing Kate’s troubled headspace with any meaningful conviction. (Not rated, 108 minutes).

The Critic

Ian McKellen’s performance is deserving of critical praise in this otherwise uneven British period piece from director Anand Tucker (Shopgirl) that trades character-driven intrigue for outlandish contrivances. McKellen plays a cantankerous theater reviewer for a London newspaper during the 1930s whose scathing appraisal of a new play, combined with threatened exposure due to homosexuality laws at the time, prompt a deceptive scheme to cash in his integrity to salvage his job and stuffy reputation. It’s evocative and sharply acted. Yet as the stakes escalate, the moral complexity is squandered in favor of lurid melodramatic twists. The cast includes Gemma Arterton, Mark Strong, and Ben Barnes. (Rated R, 94 minutes).

Dead Money

Moviegoers are dealt a bad hand with this lackluster crime thriller, which hints at an intriguing character study about compulsive gambling before settling for a generic revenge saga. It follows Andy (Emile Hirsch), a poker player on a losing streak at an underground game that’s robbed. His fortune seems to turn when he finds the stolen cash, only to leave Andy and his girlfriend (India Eisley) as suspects on the run. The script knows its way around the table, but when it comes time to raise the narrative stakes, the film folds. Among those playing oddballs are David Keith, Peter Facinelli, and Jackie Earle Haley. (Rated R, 100 minutes).

Girls Will Be Girls

Intriguing character dynamics drive this deliberately paced yet quietly perceptive coming-of-age drama about how a teenager’s sexual awakening clashes with oppressive patriarchal traditions. Mira (Preeti Panigrahi) is the student body president at an Indian private school in the Himalayan foothills who must keep her relationship secret with a high-achieving new classmate (Kesav Binoy Kiron) because of double-standard policies as well as her overprotective mother (Kani Kusruti). The screenplay by rookie director Shuchi Talati scrutinizes gender politics and intergenerational conflict through a culturally specific and universally sympathetic lens. With clear-eyed sincerity, the film avoids turning predictable or heavy-handed by modulating tones and remaining emotionally grounded. (Not rated, 118 minutes).

The Waterboyz

Overflowing with heartfelt intentions, this earnest coming-of-age drama struggles to balance stilted idealism with sufficient authenticity to enable its message to resonate. It’s set in Atlanta, where an entrepreneurial teenager (Akili McDowell) and his friends sell water on a street corner to earn some cash. But their legitimate hustle is threatened by violence on the streets — including a ruthless gang leader (Quavo) — and knee-jerk bureaucratic posturing with tragic consequences. The film generates a rooting interest in chronicling youngsters trying to do the right thing while being dragged down by systemic oppression and socioeconomic circumstances, but is overwhelmed by a predictable script and uneven performances. (Not rated, 89 minutes).

Winner

The title represents wishful thinking for this bland biopic of government whistleblower Reality Winner, which insufficiently digs beneath the surface of its true-life headlines. Instead, it’s a straightforward if compassionate portrait of the peculiarly named Reality (Emilia Jones), outspoken and brilliant as a Texas youngster, leading her to a career as a translator for the military and later the NSA, where she uncovers — and later leaks — evidence of a cover-up regarding Russian interference in the 2016 presidential election. Re-teaming Jones with director Susanna Fogel (Cat Person), the film seems reluctant to delve into its thornier topics. The cast includes Connie Britton, Kathryn Newton, and Zach Galifianakis. (Rated PG-13, 103 minutes).