Capsule reviews for Oct. 11

Bad Genius

Although not as smart or sophisticated as the characters it depicts, an engaging cast helps this breezy thriller — an American remake of a 2017 Thai film — achieve a passing grade. It follows Lynn (Callina Liang), an elite test-taker and teenage musical prodigy from a struggling family who is given a scholarship to an affluent academy. When she learns her wealthy classmates will pay big bucks for Lynn’s help cheating on tests, it spirals into a large-scale operation to circumvent the college admissions process. Although its social commentary is muddled, the film builds suspense and a rooting interest through some clever, and increasingly desperate, scheming and misdirection. (Rated PG-13, 96 minutes).

Caddo Lake

The labyrinthine cypress bayous are easier to untangle than the convoluted plot of this slow-burning thriller, which doesn’t provide sufficient emotional incentive to piece together its narrative puzzle. Set in rural East Texas, it tells parallel stories involving fractured family dynamics. One tracks a troubled lake worker (Dylan O’Brien) still grieving the death of his mother years earlier, and the other chronicles a young woman (Eliza Scanlen) whose stepsister vanishes overnight. The cast is solid and the lush setting is unique. Yet the ensuing genre-bending twists reflect some big ideas from the directing tandem of Celine Held and Logan George (Topside) that never quite mesh. (Rated PG-13, 99 minutes).

Chosen Family

Emphasizing cutesy quirks over genuine emotion, this romantic comedy is a rather conventional exploration of relationships and self-discovery. Ann (Heather Graham) is a yoga instructor whose own dysfunctional family includes overbearing parents and a dyspeptic sister (Julia Stiles) just out of rehab. Her latest boyfriend (John Brotherton) seems to be a perfect match, except he’s a recent divorcee whose pampered young daughter is intent on driving a wedge between them. So Ann is left to seek happiness from within. There are effective moments, but the screenplay by Graham, who also directed, juggles too many characters and subplots without sufficient space to develop any of them. (Not rated, 88 minutes).

Daytime Revolution

Yes, the revolution was televised back in February 1972, as this captivating documentary looks back at the week when John Lennon and Yoko Ono co-hosted “The Mike Douglas Show.” Moreover, they were given creative control, which led to a string of counterculture guests such as Bobby Seale, Ralph Nader, and George Carlin, discussions of controversial topics in culture and politics. as well as a musical duet with Lennon and Chuck Berry. As the broadcasts reached more than 40 million viewers, director Erik Nelson skillfully edits the archival footage to provide an intriguing time capsule into a media experiment given fresh relevance through a present-day lens. (Not rated, 108 minutes).

Dominique

The title character dispenses dozens of random thugs with nonchalant bravado in this brutal revenge thriller, although the pedestrian script is an adversary she’s unable to conquer. Soft-spoken Dominique (Oksana Orlan) fled her native Ukraine for a better life, but when her small plane crashes in Colombia, she winds up stranded in a small town overrun by cartel violence and police corruption. After befriending a local man (Sebastian Carvajal) who becomes a victim, she’s left to seek vigilante justice on behalf of his family. Orlan brings a convincing toughness to the throwback action sequences, yet the film reduces its unique cultural perspective to cliches and stereotypes. (Rated R, 100 minutes).

The Last of the Sea Women

Combining crowd-pleasing charm with ecological insight, this documentary shines a deserving spotlight on some feisty seniors trying to make the world a better place. It examines the tradition of Korean haenyeos, or divers who forage for seafood delicacies off the island coasts. Most are women of retirement age who love their work, regardless of the underappreciated dangers. But while their numbers dwindle due to generational shifts, their livelihoods are further threatened by pollution and climate change, forcing them to fight back. Rookie director Sue Kim balances an affectionate tribute to the film’s subjects with a broader message of preserving cultural traditions and oceanic ecosystems. (Not rated, 87 minutes).

Mad About the Boy: The Noel Coward Story

Even if its straightforward approach doesn’t fully capture its subject, this affectionate documentary offers a worthwhile tribute to a multifaceted entertainer and his bygone era. From his humble beginnings, it traces the life and career of the erudite and flamboyant British playwright and performer who became one of the most popular figures in the industry during the 1930s and 1940s. However, he also was forced to conceal his homosexuality due to discriminatory laws during his heyday. The insightful if hagiographic nonfiction debut for director Barnaby Thompson (Pixie) weaves private writings and archival footage into a compelling package that should appeal to more than just Coward aficionados. (Not rated, 95 minutes).

The Silent Hour

More effective as a character study than a police procedural, this undercooked thriller from director Brad Anderson (The Machinist) flounders under its gimmicks and coincidences. After a head injury causes significant hearing loss, homicide detective Frank (Joel Kinnaman) becomes disillusioned. A second chance comes when his ex-partner (Mark Strong) needs a sign-language interpreter to interview a deaf witness (Sandra Mae Frank) in a dilapidated high-rise. However, Frank becomes trapped and must rely on his wits to escape. Kinnaman’s solid portrayal can’t save a film that fails to withstand basic logical scrutiny. Saddled with a climactic twist that’s hardly surprising. it struggles to generate much tension. (Rated R, 99 minutes).

Super/Man: The Christopher Reeve Story

Digging beneath the well-known biographical details both on and off screen, this documentary effectively pulls at the heartstrings while adding context to Reeve’s, um, heroic life story. For all the fame he achieved playing arguably still the most iconic version of Superman on the big screen during the 1980s, the late actor’s most lasting impact might have come following a 1995 equestrian accident that left him a quadriplegic. That led to a dedicated effort to raise awareness and funding for paralysis patients and stem-cell research. Saluting its subject without relying on empty praise, this fascinating portrait from directors Ian Bonhote and Peter Ettedgui (McQueen) takes flight. (Rated PG-13, 104 minutes).