Capsule reviews for May 12

Assassin Club

With abundant visual razzle-dazzle trying to invigorate a pedestrian plot, this globetrotting thriller from French director Camille Delamarre (The Transporter Refueled) unfortunately squanders a talented cast. It follows Morgan (Henry Golding), an elite assassin whose final assignment involves seven targets in various locales. However, it turns out they’ve all been given the same marching orders by a sadistic mastermind who prompts Morgan to go rogue — if he can survive long enough to find him and exact his revenge. The resulting cat-and-mouse chases bog down in cliches thanks to a threadbare script that lacks character depth or moral complexity. The cast includes Noomi Rapace and Sam Neill. (Rated R, 111 minutes).

Blackberry

More than tech geeks can revel in the nostalgia of this captivating comedy chronicling the development of the world’s first wide-scale smartphone, which eschews mockery in favor of a crowd-pleasing balance of quirks and heart. The early-2000s device was the brainchild of Canadian engineers Mike (Jay Baruchel) and Doug (Matt Johnson) who partner with a cutthroat executive (Glenn Howerton) to help their fledgling firm of nerds bring handheld internet to the masses. But the rise to fame and fortune leads to a downfall, especially once Silicon Valley takes aim. The film smartly re-creates the period while providing a fresh perspective through gentle humor and genuine insight. (Rated R, 119 minutes).

Crater

Other than living on the moon, the future feels a lot like the present in this coming-of-age adventure, which provides some innocuous science-fiction fun but lacks the gravitas to raise the emotional stakes. In the 23rd century, teenager Caleb (Isaiah Russell-Bailey) has spent his entire life on a lunar colony with his friends. When his father’s death opens an opportunity to live on a utopian planet, he fears leaving them behind, leading to a mischievous scheme with dangerous consequences. The young actors develop an endearing rapport, although the script leaves them feeling more like contemporary kids at space camp rather than inhabitants of a faraway world. (Rated PG, 104 minutes).

It Ain’t Over

Even fans who hate the New York Yankees seem to love Yogi Berra, the late Hall of Fame catcher best known for his amusing words of wisdom and affable personality. However, this affectionate documentary makes a persuasive argument that he’s been underappreciated for his legendary prowess on the field. Tracing his life and career, the film positions Berra as a feisty baseball lifer whose influence on the game spanned more than a half-century. Through interviews and archival footage, it’s both insightful and moving as a well-rounded glimpse into the legacy of a man too often dismissed as a quirky goofball rather than a feared slugger. (Rated PG, 98 minutes).

L’immensita

Balancing a sense of playful childhood innocence with a darker probe of patriarchal oppression and intolerance, this evocative Italian drama of self-discovery resonates with heartfelt compassion. It’s set in 1970s Rome, where Clara (Penelope Cruz) is a mother trying to be supportive of her emotionally fragile transgender teenager (Luana Giuliani). But while the youngster copes through mischievous pranks, Clara must deal with hostility from her abusive husband (Vincenzo Amato) that sends her into a tailspin. Digging beneath typical dysfunctional family dynamics, the uneven screenplay by director Emanuele Crialese (Respiro) — the title translates literally to “the immensity” — finds its anchor in the versatile Cruz’s committed performance. (Not rated, 97 minutes).

Monica

Familiar themes of acceptance and reconciliation are given fresh relevance in this deliberately paced but quietly powerful family drama. Monica (Trace Lysette) is a transgender woman summoned after several years by her sister-in-law (Emily Browning) to reconnect with Monica’s mother, Eugenia (Patricia Clarkson), who might be dying. It was Eugenia, of course, who once rejected her teenage son, who fled across the country to pick up the pieces. Monica returns without revealing their true identity, reluctant to make amends without a safeguard. Strong performances bring tenderness and nuance to this uneven yet heartfelt examination by Italian director Andrea Pallaoro (Medeas) of instability and second chances. (Rated R, 106 minutes).

The Starling Girl

God-fearing people do some ungodly things in this provocative coming-of-age drama that confidently navigates tricky thematic territory while viewing religious zealotry and misogyny through an empowering lens. It chronicles Jem (Eliza Scanlen), a Kentucky teenager who feels like an outsider in her fundamentalist Christian community. As her devout parents try to match her with a boy (Austin Abrams) from her youth group, Jem is drawn instead to the young pastor (Lewis Pullman) experiencing his own crisis of faith. While the strong performances generate sympathy for conflicted characters, the screenplay by rookie director Laurel Parmet thoughtfully explores adolescent sexuality and rigid belief systems while avoiding heavy-handed contrivances. (Rated R, 116 minutes).

Still: A Michael J. Fox Movie

Physically, Michael J. Fox no longer resembles the effervescent movie star from his 1980s heyday. But mentally and emotionally, he’s as charismatic and amusing as ever. This captivating documentary from director Davis Guggenheim (An Inconvenient Truth) digs beneath the typical celebrity retrospective while examining his career and his resilience while battling the Parkinson’s Disease that has slowly caused his body to deteriorate for more than 30 years. Fox narrates his own story, while Guggenheim assembles archival footage, intimate interviews, and scripted re-enactments into a slick package. Life-affirming without a hint of mawkishness or pity, the film expertly captures Fox’s spirit — humanizing a superstar with clear-eyed compassion. (Rated R, 95 minutes).

The Thief Collector

You don’t need to be an art history buff to become intrigued by this documentary detailing a heist that may never be completely solved. At issue is the theft of a valuable Willem de Kooning painting from an Arizona museum during the 1980s. It resurfaced more than 30 years later in the bedroom of a deceased New Mexico couple, prompting speculation from family and friends that their eccentricities and world travels might have concealed a secret life of serial larceny. Through interviews, new evidence, and re-enactments, rookie director Allison Otto compiles a fascinating glimpse into broader notions of art appreciation and the peculiarities of human nature. (Not rated, 96 minutes).