Capsule reviews for Oct. 25

Canary Black

Despite some slick and stylish action sequences, this globetrotting high-tech spy thriller from French director Pierre Morel (Taken) is hampered by a formulaic plot that never musters much intrigue or suspense. Avery (Kate Beckinsale) as an American operative working in Croatia when her husband (Rupert Friend) is kidnapped by a terror group trying to intercept powerful intel. When Avery is framed, she’s forced to go rogue, prompting some delicate maneuvering from her boss (Ray Stevenson) while the clock ticks toward a potential widespread cyberattack. Beckinsale again showcases, while also squandering, her action-heroine credentials on a mostly incoherent story saddled with nondescript villains and inconsequential twists. (Rated R, 101 minutes).

La Cocina

Even if the recipe is sometimes a little bland, this black-and-white drama detailing the immigrant experience from the kitchen of an upscale Times Square restaurant gives you plenty to chew on. It details the behind-the-scenes drama during an especially hectic lunchtime rush courtesy of a dining room filled with tourists. When money goes missing, however, it causes friction among the staff, many of whom are undocumented. While it lacks subtlety, especially in an overly theatrical final act — it’s loosely based on an Arnold Wesker play — the bilingual screenplay by Mexican director Alonso Ruizpalacios (A Cop Movie) and his ensemble cast effectively juggle multiple subplots with conviction. (Rated R, 139 minutes).

Magpie

A committed portrayal by Daisy Ridley adds emotional depth to this character-driven British thriller about relationship dynamics and the allure of fame. Ridley plays Annette, suffering from depression while caring for the baby she shares with a successful author, Ben (Shazad Latif). It’s clear their marriage is unstable even before the couple’s older child (Hiba Ahmed) is cast in a movie alongside a major star (Matilda Lutz) who happens to catch Ben’s eye during his daily visits to the set. While the film lacks the nuance to fulfill its Hitchcockian ambitions, the juicy third-act twists add intrigue as long as they’re not subject to logical scrutiny. (Rated R, 90 minutes).

Memoir of a Snail

Come for the gorgeous stop-motion animation, stay for the quiet poignancy in this bittersweet Australian coming-of-age saga that emphasizes hope amid its persistent heartbreak. The story follows Grace (voiced by Sarah Snook), who grows up victimized by bullying and tragedy, with her only friends a classmate (Kodi Smit-McPhee) whose love eludes her and an eccentric yet wise old lady (Jacki Weaver). Grace turns to hoarding, in particular a fondness for snails, as her only respite from the cruelty of the outside world. The screenplay by director Adam Elliot (Mary and Max) infuses its melancholy proceedings with sardonic humor, turning Grace’s story into an underdog crowd-pleaser. (Rated R, 94 minutes).

My Name Is Alfred Hitchcock

For anyone other than ardent devotees of the legendary filmmaker, this documentary deep-dive into his work might be more exhausting than enlightening. But for those inclined to take the plunge, this thorough retrospective tribute from director Mark Cousins (The Eyes of Orson Welles) offers a new perspective on some classics and obscure titles alike. Employing abundant, carefully curated clips, it explores six themes throughout his films — escape, desire, loneliness, time, fulfillment, and height — as narrated in the director’s voice via an impersonator. Whether a cinephile or otherwise, the film provides incentive to check out Hitchcock’s extensive filmography, either as a refresher or for the first time. (Not rated, 120 minutes).

Your Monster

Combining elements of romantic comedy, revenge thriller, and horror fantasy, this wildly uneven empowerment saga doesn’t know what it wants to be, when it wants to begin and end, and where moviegoers can latch on. The action centers on Laura (Melissa Barrera), a theater actress whose boyfriend and collaborator (Edmund Donovan) dumps her after a cancer diagnosis, then recasts her breakthrough role. What a jerk! Fortunately, Laura meets a sensitive, caveman-looking monster (Tommy Dewey) hiding in her apartment who — after some awkwardness — suggests she give the chauvinist his comeuppance. Despite Barrera’s committed portrayal, the screenplay by rookie director Caroline Lindy struggles to tie everything together. (Rated R, 103 minutes).