Capsule reviews for June 19

Finnegan’s Foursome

Despite some modest charms and heartfelt intentions, this character-driven comedy about family bonding through golf from director Edward Burns (She’s the One) becomes stuck in a narrative bunker. Two brothers (Burns and Brian D’Arcy James) travel to Ireland to scatter their father’s ashes in his homeland, and to rekindle a rivalry on the links with their respective adult children (Brian Muller and Erica Hernandez). Along the way, they try to bury grudges and find common ground. The actors convey a winning rapport, although the deliberately paced film offers more cliches than surprises, which compromises the intended emotional uplift once the film finally reaches the green. (Rated R, 122 minutes).

Leviticus

Subverting expectations both as a coming-of-age queer romance and a supernatural horror saga, this taut Australian thriller skillfully builds tension alongside a more nuanced subtext. Small-town teenager Naim (Joe Bird) falls for a male classmate (Stacy Clausen), prompting Naim’s overbearing mother (Mia Wasikowska) to enlist an enigmatic preacher (Nicholas Hope) for conversion therapy. But rather than alleviating their mutual attraction, the process unleashes a sinister entity that causes hallucinations intended to drive the teens apart, despite their resolve. Strong performances capture a sense of marginalized adolescent angst that resonates, and the screenplay by rookie director Adrian Chiarella recombines familiar narrative elements while unleashing some potent frights. (Rated R, 88 minutes).

Maddie’s Secret

With a recipe blending subversive satire and incisive melodrama, this examination of the extremes of food influencer culture is audacious, yet layered with emotionally grounded poignancy. It also marks a confident directorial debut for actor John Early (Stress Positions), who stars in the gender-bending title role as a timid aspiring chef who becomes an unlikely viral star with her cooking videos, even as it exposes her secret struggles with eating disorders of which even her supportive husband (Eric Cahill) isn’t aware. As it expertly juggles tones while probing the fetishistic tendencies of content creation and online fame, Early’s screenplay is both campy and sincere. (Not rated, 98 minutes).

Never Change

While it produces some scattered laughs and admirably avoids feel-good nostalgia, this sophomoric comedy about arrested development never manages much charm beneath its aggressively vulgar surface. When a suburban school board retroactively changes its graduation requirements, the class of 2008 must return for two weeks due to 18-year-old storm damage to have their diplomas restored. Somehow, the thirtysomethings squeeze in a prom, a school play, final exams, and every other method of reliving the awkwardness. Even if you buy into the absurd premise, the characters are largely insufferable, defined by quirks and stereotypes in what feels like a string of half-baked, mostly obnoxious improv sketches. (Rated R, 103 minutes).

Peter Asher: Everywhere Man

Giving a deserving spotlight to a man whose career has existed mostly in the shadows, this documentary offers an insightful look into the multifaceted career of Peter Asher, from his early days as a pop star to his influential role as a music producer and manager. Through rare archival footage and interviews with luminaries including James Taylor, Linda Ronstadt, Steve Martin, and Carole King, the film recaps his behind-the-scenes impact on the industry spanning decades. While it may not fully capture the complexity of Asher’s personality, the result provides a valuable tribute to his lasting legacy, especially for fans of classic rock and music history. (Not rated, 118 minutes).

Rose of Nevada

Relentlessly bleak yet consistently entrancing, this ambiguous drama of family and memories from director Mark Jenkin (Enys Men) unleashes a haunting emotional potency beneath its austere surface. The grainy visuals lend a vintage feel to the elliptical story, set in a Cornish fishing village still reeling from a tragic boat accident years earlier. Cash-strapped Nick (George MacKay) and Liam (Callum Turner) are crewmen aboard the titular vessel, only to return to a village lost in time, where their identity seems uncertain. Jenkin’s usual array of quirks enhances the uneven story, supplemented by a standout cast who make the most of its quieter, more introspective moments. (Not rated, 114 minutes).

Unidentified

Rich cultural specificity brings a fresh perspective to an otherwise formulaic murder mystery in this Saudi thriller from director Haifaa Al-Mansour (Wadjda), which also features a nifty late twist. Patriarchal customs dictate that Noelle (Mila Alzahrani), a divorcee and true-crime podcast enthusiast, is relegated to a low-level clerk role at the local police department. However, when a dead woman’s body is found in the nearby desert, she seizes an opportunity to use her detective skills and join the investigation. Hinting at ulterior motives and institutional corruption, the film adheres to a familiar narrative template with the exception of Noelle, whose curiosity and persistence earn our sympathy. (Rated PG-13, 99 minutes).