Capsule reviews for Sept. 11

Black Zombie

An eye-opening probe of a film genre that usually doesn’t warrant deeper analysis, this provocative Canadian documentary persuasively exposes some inconvenient truths. Specifically, the film splices together an impressive array of clips and re-enactments, plus interviews with scholars and film historians, to scrutinize the zombie legacy on screen. Using evidence, it argues that beneath the bloody frights, zombie tropes — and their resulting box-office receipts — descend from slave resistance, colonial oppression, and Haitian spiritual traditions. Although the anger sometimes overshadows coherence, rookie director Maya Annik Bedward generally avoids heavy-handed lecturing and artistic shaming. The message of cultural appropriation in this haunting origin story remains potent. (Not rated, 92 minutes).

Don’t Look Back in Anger

Fervent devotees of seminal British rock band Oasis will especially appreciate this documentary, which blends surprising humor and poignancy into a portrait of two notorious bad-boy musicians. They are siblings Liam and Noel Gallagher, who are front and center in dissecting their relationship and more during the group’s high-profile 2025 reunion tour. Of course, their toxic falling out caused a 15-year hiatus, and their rift seemed irreparable. The film softens the edge of everyone involved, perhaps to its detriment, but remains an insightful look at the evolution and success of Oasis in particular, and also a compelling glimpse into the internal push-and-pull between artists and expectations. (Rated R, 122 minutes).

The Fix

Although it probes the psychological horrors of war with sincerity, this intermittently tense thriller from director Guy Moshe (Bunraku) bogs down in melodramatic detours and narrative contrivances. It follows Tucker (Zachary Levi), a disillusioned CIA operative suffering from guilt and resentment since serving in Afghanistan. In an attempt to clear his conscience and vindicate his mentor (Liam Neeson), Tucker reunites his men and a translator (Elnaaz Norouzi) for a daring rescue mission off the books in Tehran. Despite a convincing camaraderie among the cast, the film starts slowly before its convoluted caper is derailed by unconvincing villains and far-fetched twists that diminish the stakes. (Rated R, 139 minutes).

Hope

An audacious but uneven mix of grotesque violence and absurdist humor, this horror-infused survival thriller from Korean director Na Hong-jin (The Wailing) is exhilarating in bursts, yet feels overextended and incomplete. It tracks a team of cops and hunters investigating rumors of a creature terrorizing a small seaside village from a nearby forest, only to find that what they’re chasing isn’t what it seems. The subtext resonates at times, although the screenplay struggles to give its characters or mythology sufficient depth. The accumulating dread dissipates due to unconvincing effects, repetitive chases, and a teasing conclusion. It lacks the narrative texture to match its visual spectacle. (Rated R, 167 minutes).

If I Go Will They Miss Me

Examining fatherhood and fragile family dynamics with tenderness and nuance, this bittersweet coming-of-age drama is a quietly powerful probe of toxic masculinity, parental responsibilities, and cultural stereotypes. In Watts, California, Anthony (J. Alphonse Nicholson) is released from prison but struggles to reconnect with his wife (Danielle Brooks) and 12-year-old son (Bodhi Dell) while being lured toward the troubled life he left behind. Meanwhile, the youngster retreats to a fantasy world of airplanes and Greek mythology. Rough around the edges, the thoughtful debut of director Walter Thompson-Hernandez represents countless Black boys growing up with physically or emotionally absent dads, and the performances resonate with heartfelt authenticity. (Not rated, 95 minutes).

Mighty Mary

Although it almost drowns in the details, this crowd-pleasing documentary resonates as an underdog salute to athletic pioneers who demonstrated resilience and camaraderie in the face of controversy and corruption. As directed by Mary Maggio (A Most Beautiful Thing), the film chronicles the first all-female American sailing team attempting to qualify for the prestigious America’s Cup regatta in 1995. Becoming a worthy rival to legendary skipper Dennis Conner, the Mighty Mary crew battled not only waves and winds, but also scandal among the deep-pocketed male race organizers. Too dry and straightforward, it still generates excitement for a niche sport with a persuasive plea for equality. (Not rated, 96 minutes).