Capsule reviews for Sept. 18

The History of Concrete

Fans of John Wilson’s eponymous “how to” television series will recognize the same vibe in this meandering yet hilarious documentary that uses its titular subject to launch into a self-deprecating artistic analysis and a glimpse into random New York absurdities. Wilson narrates with his usual high-pitched deadpan style as his camera lingers over cracks in the sidewalk, foundation issues in his building, and the resulting patchwork repairs. Meanwhile, Wilson is looking for his next project, wondering if a pitch involving Hallmark holiday cliches can help secure funding. Hopefully the film will introduce a new audience to his offbeat sensibilities, which actually yield some concrete insights, too. (Not rated, 102 minutes).

The Kingdom

Proudly wearing its Godfather influences, this visually striking and richly textured French crime saga infiltrates the Mafia with fresh relevance and a unique cultural perspective. It takes place on the island of Corsica against the true-life backdrop of 1990s sociopolitical violence. That’s where teenager Lesia (Ghjuvanna Benedetti) arrives for a visit with her fugitive father (Saveriu Santucci), who wants their relationship to become normal if only he could escape the consequences of his misdeeds. Rookie director Julien Colonna contrasts the sun-splashed setting with the brutality of organized crime, but the film’s emotional power comes in its incisive exploration of regret, consequences, and troubled family legacies. (Rated R, 111 minutes).

Sunny Dancer

Navigating tricky emotional subject matter with humor and heart, this bittersweet coming-of-age saga overcomes its thematic familiarity with a tender and thoughtful examination of mercurial adolescence. Specifically, leukemia survivor Ivy (Bella Ramsey) lashes out when her parents send her to a monthlong “chemo camp” with other teens in remission. She’s determined to sabotage the good intentions of the camp director (Neil Patrick Harris) until a new group of misfit friends changes Ivy’s perspective on the past and the future. Despite some second-half contrivances, the screenplay by director George Jaques (Black Dog) finds a balance of sweetness and sentimentality without providing an easy path to life-affirming catharsis. (Not rated, 106 minutes).

Take Me Home

Examining the messy intimacy of family life through a unique lens, this small-scale drama sensitively probes the strain of disability and aging on fragile support systems. It’s set in suburban Florida, where a middle-aged Korean adoptee (Anna Sargent) with a cognitive disorder is forced to care for her parents, including a father (Victor Slezak) with dementia. An ongoing heat wave forces her to take on new responsibilities without her usual safety net. While incorporating understated humor, the uneven yet poignant film becomes strained and unfocused in the second half. Still, it understands the financial and institutional pressures of caregiving without reducing its nuances to didactic lessons. (Not rated, 91 minutes).

Tiny Fugitives

Even if you sympathize with their plight, the rambunctious youngsters are more annoying than endearing in this freewheeling summer-camp comedy that struggles to reconcile its broad laughs with its underlying pathos. It follows a ragtag collection of preteens who hatch a misguided plan to spend an entire year at their beloved summer camp rather than returning to their troubled home lives. However, a disgruntled middle-aged counselor (Johnny Knoxville) stands in their way. Eventually the film emphasizes the proudly vulgar and progressively elaborate hijinks over any sweet-natured tug at the nostalgic heartstrings, devolving into mindless chaos without the accompanying character development to create lasting memories. (Rated R, 99 minutes).

Without Blood

A tedious meditation on violence and morality, this amber-hued period drama from director Angelina Jolie muddles a potentially intriguing exploration of childhood innocence, processing tragedy, psychological war wounds, and the haunting effects of guilt and regret. Decades after witnessing her family being decimated in a brutal attack, Nina (Salma Hayek Pinault) tracks down a salesman (Demian Bichir) to confront him for his role. As a subtle power struggle ensues, will their meeting result in healing or vengeance? Emphasizing atmosphere over plot, the film amounts to an acting workshop accented by some alluring visual flourishes, yet the lack of narrative momentum inhibits a deeper emotional resonance. (Not rated, 91 minutes).

You Had to Be There

The running gag in this amusing documentary is how an irreverent 1972 production of “Godspell” in Toronto managed to include so many future Canadian comedy stars, but was never captured on camera, so no footage exists. Fortunately, the surviving cast members — including Martin Short, Eugene Levy, Victor Garber, Andrea Martin, and Paul Shaffer — are happy to play raconteur and share anecdotes, which comprise the bulk of this retrospective, along with a few animated re-enactments. As the silly yet sincere film tracks their individual paths to fame to various degrees, there’s also a warmth to their Canadian pride and enduring close-knit bond more than 50 years later. (Not rated, 98 minutes).