Capsule reviews for Aug. 26

Adopting Audrey

Strong performances can’t overcome the erratic nature of this melodramatic exploration of families and human connection, which lacks the nuance to modulate its persistent eccentricities with genuine pathos. Audrey (Jena Malone) is an impulsive 30-year-old searching for belonging and fulfillment. So she decides on a whim to put herself up for legal adoption, which leads her to a brusque retired NASA engineer (Robert Hunger-Buhler) and his more accepting wife (Emily Kuroda). As their relationship evolves, the film is tender and compassionate, yet seems reluctant to capitalize on the unique perspective its premise suggests. The result keeps the characters at an emotional distance, which Audrey doesn’t need. (Not rated, 92 minutes).

Breaking

The setup is more provocative than the payoff in this character-driven drama recalling a true-life Atlanta bank heist while offering a compassionate plea for fairness in disability benefits for our veterans. That’s where the film finds Brian (John Boyega), an ex-Marine on the verge of homelessness who reaches his breaking point when denied an $892 government assistance check. So he holds up a bank and takes the manager (Nicole Beharie) hostage, trying to explain his predicament to the media and a negotiator (Michael K. Williams). Boyega’s understated portrayal generates hard-earned sympathy, although the deliberately paced film otherwise struggles to find deeper resonance for its broader issues. (Rated PG-13, 103 minutes).

Funny Pages

Fanboys and comic nerds can rejoice in the amusing if unsettling misadventures of the teenage protagonist in this offbeat coming-of-age comedy, which finds tenderness and compassion beneath its surface silliness. Set during an earlier decade, it follows an aspiring cartoonist (Daniel Zolghadri) who ditches his suburban upbringing in favor of eclectic independence in the city. One of his part-time jobs brings him into contact with an ex-con (Matthew Maher) who he pursues as a mentor despite obvious red flags. Rookie director Owen Kline — son of Kevin — uses grainy visuals to enhance the nostalgic appeal, while his uneven screenplay is a heartfelt tribute to overzealous adolescent impulses. (Rated R, 86 minutes).

The Good Boss

Javier Bardem shines in this otherwise uneven corporate satire from Spanish director Fernando Leon de Aranoa (Loving Pablo), in which flashes of acerbic wit fail to coalesce and yield the intended urgency. Bardem plays the executive of his family’s factory, where his nurturing tone masks a cutthroat attitude toward his employees, especially with the business struggling due to a combination of internal and external forces. So he’s forced to scramble both professionally and personally, with his old-school chauvinistic capitalism clashing with contemporary views on gender politics and worker rights. Those themes feel watered down, however, in a film that lacks tonal balance and character depth. (Not rated, 116 minutes).

Jane

Although it admirably tackles cyberbullying, identity theft, mental health, and affirmative action — all from a female perspective — this coming-of-age drama lacks the subtlety or surprise to make a deeper impact. Olivia (Madelaine Petsch) is a suburban overachiever with Stanford dreams who feels threatened when a new student (Nina Bloomgarden) challenges her supremacy on the debate team. With her best friend (Chloe Bailey), Olivia hatches a revenge scheme using the social-media accounts of a dead classmate, which backfires in ways that threaten more than her future. As it transitions into a thriller, Petsch (“Riverdale”) anchors a film in which the underlying intent surpasses the wobbly execution. (Rated R, 83 minutes).

Out of the Blue

While it never fulfills its lofty Hitchcockian ambitions, this twisty noir from director Neil LaBute (The Wicker Man) unspools some intriguing character dynamics beneath its surface-level suspense. Set in Rhode Island, it follows Connor (Ray Nicholson), a small-town librarian with a troubled past who is seduced by Marilyn (Diane Kruger), an affluent woman apparently enduring an abusive marriage. As their relationship deepens to the point of mutual obsession, they hatch a plan to be together forever. LaBute’s screenplay overflows with throwback genre influences — both visual and narrative — with Kruger as an alluring femme fatale. Despite uneven momentum, the film succeeds as a breezy if overwrought caper. (Rated R, 105 minutes).

Private Desert

As it intimately explores familiar themes through a fresh cultural lens, this Brazilian romantic melodrama provides a deeply felt perspective on acceptance and relationships, even if its overall insight is modest. It tells the parallel stories of Daniel (Antonio Saboia), a police officer dealing with a host of personal and professional setbacks, and Sara (Pedro Fasanaro), a caretaker who Daniel met online. As they deepen their long-distance commitment, Daniel becomes desperate for a personal connection, unaware of Sara’s secrets. While the film scrutinizes masculine traditions in Brazilian culture with tenderness and heartfelt sincerity, its deliberate pace and awkward structure compromise the broader emotional resonance. (Not rated, 121 minutes).

Songs of Solomon

The tragic life of Armenian singer Komitas deserves the cinematic spotlight, although this earnest biopic strikes some false notes. Told mostly in flashback, it chronicles the late 19th century upbringing of the orphaned boy in Istanbul, run by the oppressive Ottoman regime. After attending seminary, Komitas gains fame for spreading Armenian music against the will of a ruthless government later responsible for ethnic cleansing. Despite some stylish touches from rookie director Arman Nshanian — who also plays the main villain — the film oversimplifies the broader sociopolitical context. In addition, the labored dialogue and melodramatic embellishments tend to undercut its emotional impact and trivialize its true-life subject matter. (Not rated, 103 minutes).

Untrapped: The Story of Lil Baby

Within a familiar rags-to-riches trajectory, this documentary charting the life and career of Grammy-winning hip-hop star Dominique “Lil Baby” Jones provides moments of insight and inspiration. The film chronicles the rise of its subject from his upbringing in a systemically impoverished Atlanta neighborhood, where he was a drug dealer before being lured somewhat reluctantly into the rap game. As he gains a following with his thoughtful lyrics and flow, Lil Baby matures into a dedicated father, social activist, and philanthropist. Although director Karam Gill (G-Funk) is too selective about private details and glosses over pretty much anything controversial, the result should connect with fans. (Rated R, 93 minutes).