Capsule reviews for July 5

Boneyard

Turning a true-life serial killer case into a collection of cliches and contrivances, this derivative thriller never musters much suspense or sympathy for its characters — whether alive or dead. In New Mexico, an investigation into female bodies littered across the desert involves a detective (Brian Van Holt) who is convinced of corruption within the police department, an eccentric outsider (Mel Gibson) who points to a local prostitution ring, and the beleaguered chief (Curtis “50 Cent” Jackson) who must play referee. Gibson is a welcome presence as the only one refusing to take this mess seriously, but otherwise the film woefully lacks subtlety and surprise. (Rated R, 96 minutes).

Maxxxine

Style overwhelms substance in this concluding chapter to the offbeat horror trilogy from director Ti West (X), a Hollywood satire and evocative grindhouse throwback without much narrative thrust. It again picks up the story Maxine (Mia Goth), this time aspiring to navigate the seedy 1980s adult-film industry to make it as a legitimate actress. But just as she achieves a breakthrough, the town is paralyzed by a serial killer targeting starlets, forcing Maxine to revisit her troubled past. Goth is a powerhouse, and although this sequel ties its three-film storyline together, it feels disjointed and undercooked. The cast includes Elizabeth Debicki, Halsey, and Kevin Bacon. (Rated R, 103 minutes).

Mother, Couch

Like the title character, this contemplative exploration of fractured family dynamics seems to have something to say but instead just sits there. It’s set almost entirely inside a furniture store, where an irascible elderly woman (Ellen Burstyn) parks on a couch and refuses to move, much to the chagrin and eventual distress of her youngest son (Ewan McGregor). He calls in his two siblings (Rhys Ifans and Lara Flynn Boyle), which causes more bickering and triggers an existential midlife crisis. Despite the top-notch cast, the screenplay by rookie director Niclas Larsson becomes muddled rather than profound as it delves into motives, lingering hostility, and mortality. (Not rated, 96 minutes).

The Nature of Love

Within a conventional romantic comedy framework, this Canadian saga of attraction and commitment finds fresh angles through transgressive storytelling and compelling characters. Sophia (Magalie Lepine Blondeau) is an affluent Quebec professor whose marriage to mild-mannered Xavier (Francis-William Rheaume) is stable until she meets Sylvain (Pierre-Yves Cardinal), a laborer working on a renovation of the couple’s country home. Their passionate affair prompts questions about socioeconomic class and causes Sophia to contemplate her choices and her future. For those who buy in, the richly textured screenplay by director Monia Chokri modulates its laughs with subtle moral complexity and deeper relationship insight, bolstered by portrayals from a committed cast. (Not rated, 110 minutes).

The Secret Art of Human Flight

Between the moments of bittersweet charm, this fanciful low-budget drama about grief and coping mechanisms becomes overwhelmed by its quirks and whimsy, diminishing the emotional impact. It follows Ben (Grant Rosenmeyer), a children’s author mourning his wife’s tragic death. Alienating himself from his sister (Lucy DeVito), Ben instead turns to the dark web, where he discovers a book from a self-help guru (Paul Raci) that claims to unlock the power to fly. But a meeting with the author changes Ben’s life in unexpected ways. The performances are strong, although the film struggles with tonal consistency and becomes more heavy-handed than profound during Ben’s journey to catharsis. (Not rated, 107 minutes).

Space Cadet

It’s hard to imagine anyone becoming too inspired by this cheesy wish-fulfillment fantasy about female empowerment and following your dreams that feels completely detached from reality. Rex (Emma Roberts) is a Florida party girl who lacks the basic qualifications to fulfill her childhood dreams of becoming an astronaut. But her falsified documents catch the eye of a NASA recruiter (Gabrielle Union) who brings her to Houston. There she shakes up a training program filled with doctors and scientists and run by an alluring Brit (Tom Hopper). While mildly insightful, the screenplay by director Liz Garcia (The Lifeguard) lacks the charm to overcome its outrageously far-fetched contrivances. (Rated PG-13, 110 minutes).