Capsule reviews for July 10

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An intriguing concept gives way to muddled execution in this bittersweet science-fiction drama that doubles as an ambitious cautionary tale about artificial intelligence. It’s set in 2038, when genetics researcher George (Theo James) is isolated in a remote Japanese research facility, ostensibly working on an android prototype that can enable temporary reanimation of the deceased — like his late wife, for example. Some technical issues coincide with his supervisors discovering his ulterior motives, jeopardizing his chance to complete the project. Rookie director Gavin Rothery flashes some low-budget visual flair, although his deliberately paced screenplay turns predictable in the second half, which compromises the intended emotional impact. (Not rated, 109 minutes).

Bloody Nose, Empty Pockets

Bending the rules of docudrama with confidence and conviction, sibling filmmakers Bill and Turner Ross (Tchoupitoulas) crafted a heartfelt tribute to dive-bar culture. Shot like a verite documentary, the staged film takes place inside a Las Vegas hangout called the Roaring Twenties, on the night of a bittersweet final bash before it closes its doors. As regulars come and go, they reflect and reminisce — and drink heavily. Even though it’s essentially fictional, the film’s power lies in its authenticity, capturing the ability of a dingy watering hole to serve as a depressing yet cathartic safe haven for outcasts seeking to collectively escape their outside problems. (Not rated, 98 minutes).

Never Too Late

Some of the jokes feel as old as the geriatric protagonists in this awkward Australian comedy about reuniting the gang for one last adventure. Specifically, longtime schemer Jack (James Cromwell) wants to escape from his nursing home for retired veterans so he can settle down with an ex-flame (Jacki Weaver) with dementia. So he recruits his old rapscallions from Vietnam to swap battle stories and plot a getaway — if only their aging bodies and faulty memories will allow it. Spirited performances drive the good-natured mischief for a while, although the film struggles to balance the broad humor with any nostalgic value or meaningful sentiment. (Not rated, 97 minutes).

Palm Springs

Two strangers meet at a wedding, but from there, this clever and amusing romantic comedy defies genre expectations. It takes a surreal turn after Nyles (Andy Samberg) hooks up with maid of honor Sarah (Cristin Milioti) and winds up carrying her into the time loop (think Groundhog Day) in which he seems endlessly stuck. While the free-spirited Nyles seems resigned to his fate, Sarah tries to find a way out for both of them to carry on with their lives. Wacky and weird but never obnoxious, the film benefits from endearing performances, plus an ability to venture into surreal territory without bogging down in metaphysical mumbo-jumbo. (Rated R, 90 minutes).

We Are Little Zombies

A sharply observed coming-of-age satire competes with a barrage of visual gimmickry in this ambitious if highly uneven debut from Japanese director Makoto Nagahisa. It follows four socially awkward, recently orphaned Tokyo teenagers who bond over the recent loss of their parents. As they wonder why they’re not feeling sadder under the circumstances, they channel their affection for lo-fi video games and punk music into the formation of a rock band. With style and attitude to spare, the film makes some droll yet amusing observations about the way children process grief in an age of emotional detachment. Despite the constant mayhem, it’s too original to ignore. (Not rated, 120 minutes).