Capsule reviews for Oct. 2

April X

A futuristic thriller packed with present-day cliches, this dystopian science-fiction saga is more compelling in its concept than its execution. In an anonymous drone-filled Eastern European city, cash-strapped Bax (Connor Storrie) searches frantically for his twin sister, April (Lilly Krug) after she disappears under mysterious circumstances. That forces brooding Bax to navigate a seedy network of violent gangsters, organ harvesting, and possible sex trafficking. “Authenticity is dead, replaced by replicas,” Bax explains in his monotonous narration, which seems appropriate in unintended ways. Credit rookie director Michel Parandi with some ambitious world-building on a limited budget, but it’s populated with characters who aren’t worth the trouble. (Not rated, 91 minutes).

Atonement

Earning catharsis via thoughtful dialogue and understated performances, this quietly powerful drama probes the delicate nature of forgiveness with nuance and compassion. Years after serving as a Marine sniper in Iraq, Lou (Boyd Holbrook) is haunted about killing members of an innocent civilian family, the surviving members of which have since relocated to California. With the matriarch (Hiam Abbass) still processing her own grief, Lou urges a journalist (Kenneth Branagh) to arrange a meeting. Although thematically familiar, the screenplay by rookie director Reed Van Dyk integrates multiple perspectives to avoid turning judgmental or heavy-handed. The underlying messages for shared humanity and against violence carry subtle potency. (Not rated, 115 minutes).

Beware Boiuna

What’s a creature feature without a creature to feature? Intermittently campy and creepy, this low-budget thriller and its formidable monster are undermined by uneven execution and an overly solemn tone. It’s set in the Amazon rainforest, where a group of medical missionaries, including two resilient rookies (Jessica Rothe, Kiana Madeira), and some exploitative outsiders must contend with an awakened colossal serpent looking to reclaim its territory. When the slithering beast strikes, the violence can be vivid and nasty. However, frenetic and murky visuals give it less bite, especially when glimpses of the title character are so infrequent, without the underlying dread to drive tension. (Rated R, 104 minutes).

Lady

A ferocious performance by Sian Clifford (“Fleabag”) carries this otherwise uneven satire that maximizes its one-joke premise and the cringeworthy amusement. Clifford plays an aristocratic loner without a hint of self-awareness who hires an upstart documentary filmmaker (Laurie Kynaston) in a desperate attempt to inflate her philanthropic efforts and artistic abilities, and remain in the spotlight. Then a surreal turn changes both of them. Although the material might have been a better fit on stage, rookie director Samuel Abrahams makes the most of his ritzy location. And while it skewers familiar targets, the film finds its emotional center in the awkward connection between its lost souls. (Not rated, 97 minutes).

The Last First: Winter K2

Benefiting from the inevitable horrors of its reckless circumstances, this documentary offers a cautionary tale while depicting what happens what glorified tourists and content creators try to scale the world’s second-highest peak during the treacherous winter months. The seasonal accomplishment had never been completed prior to 2021, when a trio of experienced climbers have their attempt essentially hijacked by commercial thrill-seekers, opportunistic videographers, and negligent organizers. This isn’t a tale of courage and determination but a fascinating sociological study about hubris and ego. With director Amir Bar-Lev (Long Strange Trip) retrospectively maximizing the tension, the film is more infuriating than inspiring — and better for it. (Rated R, 98 minutes).

Last Shot

Although it scores some points for heartfelt intentions, this coming-of-age basketball drama fouls out with its underdog cliches and melodramatic detours. Caden (Dylan Friedman) puts his hoop dreams on hold after a family tragedy prompts a move from Nashville to Los Angeles live with his estranged music-producer mother (Jaime Pressly). But Caden finds that the game is a coping mechanism after he joins a team with some new friends and a hard-nosed coach (Baron Davis). The film’s portrayal of adolescent athletic pressures is mostly authentic, and the cast is strong. However, the unfocused script tries to juggle too many subplots, which diminishes the emotional resonance. (Rated PG-13, 105 minutes).

Nickels

One man processing his grief isn’t automatically cathartic for those watching him, as evidenced by this gloomy melodrama from director Spencer King (The Wilderness) with unfulfilled life-affirming intentions. Tom (Rob Riggle) is an entrepreneur still haunted by his brother’s death in a motorcycle accident decades earlier. After young neighbor Mitch (Aaron Holliday) is critically injured in a bike accident of his own, he begins to attach himself to Tom during his recovery, forcing Tom to confront his feelings through Mitch. It’s nice to see comedian Riggle play against type, but the film bogs down in philosophical and supernatural mumbo-jumbo that’s more tedious than thought-provoking. (Not rated, 101 minutes).

Rolling Loud

Fans of the titular hip-hop music festival might appreciate this feature-length advertisement and its low-brow shenanigans. Hank (Owen Wilson) is an uptight Miami executive who tries to create a memory with his teenage son (Christian Convery) by taking him to the concert of his dreams against his wife’s wishes. But when they become separated in the crowd, Hank’s eccentric misadventures expose his parental irresponsibility — and suggest that he might be cool, after all. With its anarchic vibe, the screenplay by director Jeremy Garelick (The Binge) manages some scattered laughs amid the aggressive product placement. Yet despite Wilson playing along, it’s ultimately too silly and predictable. (Rated R, 95 minutes).