Capsule reviews for Aug. 12

Bloom Up

Perhaps it’s refreshing to see such a sex-positive portrayal of nontraditional intimacy on screen, but this documentary lacks the emotional depth to match its physical openness. It follows Hermes and Betta, a middle-aged Italian couple who owns a pet store and couldn’t be more ordinary — given you exclude their fondness for uninhibited sex parties involving other swinger couples. As they promote their lifestyle, the subjects show their relationship can withstand the pitfalls of polyamory. The film’s observational style, which includes graphic depiction of their encounters, sidesteps mere titillation or exploitation. But while they seem like nice people, the result winds up more tedious than insightful. (Not rated, 88 minutes).

Fall

With the simplest of premises and the shallowest of characters, this absurd thriller is intended to be consumed and judged more as an amusement park ride. From a technical perspective, director Scott Mann (Heist) and his collaborators prey upon the fears and instincts of their audience by finding every angle possible to exploit the peril facing two thrill-seeking best friends (Grace Fulton and Virginia Gardner) who become stranded atop a 2,000-foot radio tower in the desert. Suspense and sympathy take a back seat to outrageous near-death escapes and vertigo-inducing visuals. That’s fine for a while, but eventually the idea succumbs to eye-rolling silliness and repetition. (Rated PG-13, 107 minutes).

Mack and Rita

Diane Keaton’s high-spirited portrayal can’t save this misguided body-swapping comedy with labored gags and cliched insight into aging and relationships. Mack (Elizabeth Lail) is a fledgling author and “old soul” who feels out of place at a bachelorette party for her best friend (Taylour Paige). A new-age healer somehow turns her into the 70-year-old woman she claimed she always wanted to be, but while her new alter-ego Rita (Keaton) becomes an unlikely viral sensation, Mack finds she’s not yet ready for her golden years. With an awkward mix of slapstick and sentiment, the film overflows with self-help chestnuts while squandering talented performers of all ages. (Rated PG-13, 95 minutes).

No Way Out

Featuring characters and narrative twists that seem cobbled together from superior genre influences, this muddled erotic thriller feels like a throwback to assembly-line noir exercises from a bygone era. However, it’s set in present-day Los Angeles, where a photographer (Joey Bicicchi) meets an alluring woman (Maia Mitchell) on a blind date that leads to an intimate relationship. Then secrets about her past prompt his reluctant transformation into a vigilante hero on her behalf. Mitchell has fun as the seductive femme fatale and rookie director Azi Rahman injects some visual flair into the derivative material. But the unsympathetic characters and far-fetched storytelling don’t prompt much emotional involvement. (Not rated, 89 minutes).

Rogue Agent

Strong performances and intriguing character dynamics propel this generically titled British thriller that turns a compelling true-life case into a twisty potboiler. It recalls the misdeeds of Robert Freegard (James Norton), a dangerous con man in the 1990s who poses as a government intelligence agent and seduces women for money and sex. One such relationship is with a corporate lawyer (Gemma Arterton) who discovers his secrets and risks everything to fight back. It’s captivating on the surface, regardless of familiarity with the source material. Although the film paints Freegard as a rather one-dimensional villain, the screenplay provides enough procedural surprises to maintain the suspense. (Not rated, 116 minutes).

Summering

While overflowing with nostalgic charm, this slight coming-of-age drama about sisterhood and adolescent memories winds up mostly forgettable. During the last weekend before starting middle school, four best friends (Lia Barnett, Madalen Mills, Eden Grace Redfield, and Sanai Victoria) discover a dead body in the woods near their favorite hideout. As they piece together clues to his identity, the experience changes each of them while testing their bond. Although director James Ponsoldt (The Spectacular Now) captures a sense of childhood camaraderie among his precocious protagonists — yielding obvious comparisons to a contemporary female version of Stand By Me — the sweet-natured film is occasionally touching yet dramatically inconsequential. (Rated PG-13, 85 minutes).