Capsule reviews for May 30

Bono: Stories of Surrender

Although it lacks the candor of a cathartic confessional, this filmed version of U2 frontman Bono’s intimate one-man stage show, inspired by his memoir, benefits mightily from his engaging charisma — and his music. As a variation on the traditional music documentary, director Andrew Dominik (Blonde) injects some snappy editing and flashy lighting to liven up the visual presentation, which otherwise features Bono regaling an audience with anecdotes about his Irish upbringing, rock-star career, inspirations, and relationships. He also sprinkles in acoustic performances of some greatest hits, sans his bandmates. The result isn’t especially insightful as an autobiography, but it also avoids self-indulgence with genuine sincerity. (Not rated, 86 minutes).

Bring Her Back

With its terror rooted in real-life grief and anxiety rather than supernatural gimmickry, this psychological thriller from directors Danny and Michael Philippou (Take My Hand) unspools a haunting saga of reincarnation and fractured family dynamics. Teenage siblings Andy (Billy Barratt) and Piper (Sora Wong) struggle to become comfortable with their new foster mother (Sally Hawkins), who is still reeling from a family tragedy. She’s also concealing dark secrets that signal her relationship with the newcomers is anything but nurturing. Although the story is driven by coincidences and the narrative momentum wavers, the grisly film is taut and terrifying for viewers patient enough to piece it together. (Rated R, 99 minutes).

Ghost Trail

Blanketed in grief and despair without wallowing in misery, this deliberately paced yet quietly powerful thriller offers an incisive glimpse into European immigration and Middle East unrest. Based on true events, it follows Hamid (Adam Bessa), who fled war-torn Syria for Germany. Moving in silence and secrecy, we learn he’s part of a resistance group tracking exiled regime leaders for revenge, but finding his target in France proves challenging as Hamid confronts his own feelings about the past. Emphasizing humanity over politics, the sharply observed narrative debut for French director Jonathan Millet builds a steady melancholy tension in a way that feels urgent without turning heavy-handed. (Not rated, 106 minutes).

Housewife of the Year

It might seem obvious to skewer the titular pageant — which captivated Ireland for almost three decades — as sexist and reductive. Yet this documentary finds depth and perspective through the stories of its former competitors, who are given a deserving spotlight for years of serving in almost thankless maternal roles in a country steeped in antiquated patriarchal Catholic doctrine. Although its insights are hardly revelatory, and the archival footage provides some cringeworthy chuckles, the film from director Ciaran Cassidy (Jihad Jane) is a compelling look at gender roles, organized religion, oppression, and empowerment through the lens of a specific culture where women have a long overdue voice. (Not rated, 81 minutes).

To Live and Die and Live

Exploring familiar themes of guilt and grief through a culturally and geographically specific lens, this evocative character study provides an incisive probe of addiction, religious traditions, contemporary masculinity, and urban decay. Such is the journey for Muhammad (Amin Joseph), a filmmaker who returns to his working-class Detroit neighborhood to bury his stepfather and reconcile his affairs. The resulting financial burden combines with an emotional toll that leaves Muhammad coping via sex, drugs, and alcohol. Joseph (“Snowfall”) generates hard-earned sympathy for a character struggling to escape his downward spiral, even if the film itself is narratively uneven and feels much too tidy in the final act. (Not rated, 101 minutes).

Tornado

Amid the pervasive bleakness and savagery, an underlying resilience and hope galvanizes this atmospheric period thriller. Set in late 18th century Britain, it centers on Tornado (Koki), a teenager from a traveling circus where she performs alongside her father (Takehiro Hira), a Japanese samurai and puppeteer. Trying to escape a murderous gang leader (Tim Roth) and his ruthless son (Jack Lowden), who are seeking hidden bags of gold, her focus becomes revenge. Making the most of its stark and desolate landscapes, the screenplay by director John Maclean (Slow West) bogs down in cultural myths and legends without contextual justification, although its cat-and-mouse intensity is chilling. (Rated R, 91 minutes).