Capsule reviews for Feb. 27

Dreams

The stakes are more emotional than political, but the tension is just as high for the characters on both sides of the border in this twisty erotic drama from Mexican director Michel Franco (Memory) bolstered by strong portrayals and intriguing dynamics. It chronicles an American socialite (Jessica Chastain) caught up in an obsessive affair with an undocumented Mexican ballet dancer (Isaac Hernandez). Their romance carries great mutual risk as it evolves into a subtle power struggle driven by secrets, jealousy, and ulterior motives. Franco’s bilingual screenplay yields urgency and avoids turning heavy-handed, even as it navigates logical gaps and stumbles through an unconvincing climax. (Not rated, 98 minutes).

For Worse

A first-rate ensemble cast propels this sharply observed comedy from actress-director Amy Landecker (“Transparent”) that embraces the insecurities and awkwardness that comes with middle-aged divorce. Landecker plays Lauren, recently sober and single, who sees an acting class as a way to start over. Her troupe includes Sean (Nico Hiraga), a guy in his 20s who brings Lauren out of her shell, yet has her feeling uncomfortable in social situations, especially around the young partygoers at the wedding of a classmate (Kiersey Clemons). As Lauren charts a new path to self-acceptance, the quirky film delightfully explores vulnerability and gender roles while balancing absurdity with heartfelt charm. (Not rated, 90 minutes).

Ghost Elephants

A mix of exotic travelogue, nature documentary, and anthropological investigation, the latest effort from legendary director Werner Herzog (Grizzly Man) again draws you into the gripping curiosity of the filmmaker and his eccentric subjects. In this case, the film follows conservation biologist Steve Boyes and a dedicated team of trackers trying to prove the existence of a herd of “ghost elephants” in the forests of Angola. By the end, it’s less about the elusive titular creatures than about the human fascination to solve the mystery. And for moviegoers, it’s less about that endgame than about the obsessive yet compassionate sense of discovery along the way. (Not rated, 98 minutes).

Idiotka

More silly than substantial, this heartfelt yet predictable satire offers a lighthearted probe of intergenerational family dynamics and the elusive American Dream filtered through a culturally specific lens. It follows Margarita (Anna Baryshnikov), who hails from an eccentric Russian immigrant family and harbors aspirations of making it big in the fashion world. A producer (Camila Mendes) gives Margarita her shot on a new fashion reality show, although winning could hinge on her ability to exploit her private life along the way. The screenplay by rookie director Nastasya Popov generates some big laughs while skewering some broad and obvious targets, but its ideas tend to clash. (Not rated, 82 minutes).

K-Pops

Despite a thoroughly formulaic narrative arc, this amusing semiautobiographical comedy marking the directorial debut of musician Anderson .Paak carries a sweetness and goofy sincerity. The filmmaker stars as a washed-up nightclub drummer who gets a fresh start working for a reality competition show in Korea, where he runs into a woman (Jee Young Han) from his past and becomes an unlikely mentor for a young contestant (Soul Rasheed, .Paak’s real-life son), changing his future outlook. This affectionate showcase for .Paak’s infectious personality and style is predictable yet charming. And it mostly avoids vanity pitfalls while promoting the ability of music to cross boundaries and unite cultures. (Rated PG-13, 114 minutes).

Man on the Run

Although it doesn’t provide much meaningful new insight, this slick documentary about the 1970s transformation of musician Paul McCartney from director Morgan Neville (20 Feet from Stardom) is both intimate in its perspective and ambitious in its scope. Through candid interviews and extensive archival footage, the film chronicles McCartney in his post-Beatles years as he finds a new sound and new artistic outlook with the band Wings. We’re left to marvel at McCartney’s all-around talent, scratch our heads at some of his choices, and question his rightful place among the all-time greats. The result is a treat for fans that’s consistently engrossing while mostly avoiding hagiography. (Rated R, 115 minutes).

The Napa Boys

Perhaps some heavy wine drinking would increase the enjoyment level of this loose collection of low-brow gags that feels like one rambling inside joke. It’s set up as a lampoon of IP franchises, positioned as the fourth installment of a fictional series apparently about mishaps in Napa Valley. Except there’s no context about the characters or their previous adventures. Even for those on the same silly wavelength willing to give the benefit of the doubt based on the film’s go-for-broke audacity, the antics become repetitive and the satire is pointless. And there are random cameos. Some moviegoers might get it; others will find it excruciating. (Not rated, 92 minutes).

Operation Taco Gary’s

While you can admire its go-for-broke irreverence and even its enthusiastic offbeat charms, this sketchy and sophomoric road-trip saga can’t sustain its comic momentum at feature length. Luke (Dustin Milligan) is seeking a fresh start when he reluctantly reunites with his brother (Simon Rex), a conspiracy theorist convinced that a shadowy coalition is after him, and that the titular fast-food joint is the only safe zone. As they meet an eccentric batch of strangers, Luke wonders whether he should fear for his own survival. Although it generates some scattered big laughs, the screenplay by rookie director Michael Kvamme eventually becomes more exhausting than endearing. (Not rated, 88 minutes).

Undercard

Strong performances fight against a pedestrian script in the latest underdog saga using boxing as a vehicle for redemption and reconciliation. In this case, Cheryl (Wanda Sykes) is an ex-champion now working as a fledgling trainer battling addictions. She reconnects with her estranged son (Bentley Green), an aspiring fighter who wants nothing to do with her. But setting aside their differences might be the only path to mutual happiness — and a championship belt. Sykes shines in a change-of-pace role that captures some heartfelt intergenerational dynamics, but the periphery roles are thinly sketched in a film that lacks subtlety and surprise both inside and outside the ring. (Not rated, 106 minutes).