Capsule reviews for Aug. 23

African Giants

Rich cultural specificity brings a fresh perspective to a familiar scenario in this two-handed drama about masculinity, sibling bonds, and the clash between dreams and expectations. It follows a fledgling actor (Dillon Daniel Mutyaba) who welcomes his younger brother (Omete Anassi) for a weekend visit in Los Angeles. Both are proud of their African heritage but also desire to forge their own paths. Their relationship is tested after secrets are revealed and decisions are made that reshape their respective futures. Some of the dialogue feels stilted, yet the screenplay by rookie director Omar Kamara is rooted in authenticity, and the performers add layers of emotional depth. (Not rated, 106 minutes).

Between the Temples

Beneath its surface quirks and awkwardness, this character-driven comedy from director Nathan Silver (Thirst Street) about the clash between religious traditions and individualized grief yields a resonant emotional impact. It follows Ben (Jason Schwartzman), a devout cantor at a New York synagogue still mourning his wife’s death when he loses his singing voice. The resulting crisis of faith prompts an existential crisis, leading to an unlikely reunion with his childhood music teacher (Carol Kane) who wants to be his bat mitzvah student. Grounded and committed performances bring depth to the film, which — aside from some mild contrivances — offers some big laughs and an even bigger heart. (Rated R, 111 minutes).

Catching Dust

Emphasizing mood and atmosphere over plot, this slow-burning, noir-infused character study of relationships burdened by secrets and hidden agendas is unable to sufficiently raise the emotional stakes. Geena (Erin Moriarty) and her hot-tempered husband (Jai Courtney) are fugitives living in isolation in a trailer in western Texas. They become suspicious when another couple (Ryan Corr and Dina Shihabi) from New York arrives for a supposed vacation getaway, perhaps hiding ulterior motives that interrupt more than just their lifestyle. The film stylishly incorporates the rugged landscapes into a screenplay by rookie director Stuart Gatt that unspools a story of deception and betrayal that’s more tedious than provocative. (Not rated, 100 minutes).

Greedy People

The title accurately describes almost everyone in this ensemble crime comedy from director Potsy Ponciroli (Old Henry) that stumbles when it transitions more into a straightforward murder mystery. It’s set in a seaside village where a sleazy cop (Joseph Gordon-Levitt) and his rookie partner (Himesh Patel) accidentally cause a tragedy. The ensuing cover-up involves a hidden reward as a pregnant wife (Lily James), a wealthy businessman (Tim Blake Nelson), and a shadowy hitman (Jim Gaffigan) all become involved. Venturing into Coen territory with mixed results, the film manages some big laughs alongside its tonal inconsistencies, but can’t sustain its screwball momentum in the second half. (Rated R, 112 minutes).

Mountains

Slight yet powerful, this nuanced exploration of a working-class Haitian family’s experience with immigration and gentrification carries cultural specificity and universal resonance. It follows a Miami construction worker (Atibon Nazaire) trying to cling to his heritage amid the dismantling of the city’s Little Haiti neighborhood around him. He’s at odds with his adult son (Chris Renois) who has assimilated into American customs, while his wife (Sheila Anozier) is caught in the middle. The screenplay is uneven in Monica Sorelle’s otherwise confident directorial debut, but there’s an authenticity to this bittersweet portrait of shifting generational dynamics that understands the value of tradition without wallowing in sentimentality. (Not rated, 95 minutes).

Place of Bones

The fresh perspective and clever climactic twist in this low-budget Western is offset by the parade of genre tropes and stock characters. It follows a self-sufficient widow (Heather Graham) living on a remote ranch with her impressionable teenage daughter (Brielle Robillard), trying to keep them both safe from outsiders. When a wounded outlaw (Corin Nemec) shows up on their property, they nurse him back to health, while preparing for a showdown with the gangsters seeking the money in the stranger’s satchel. That final act is more compelling than anything before it in the deliberately paced screenplay, although Graham’s resilience and resourcefulness provides an emotional anchor. (Rated R, 94 minutes).

Strange Darling

Subverting well-worn genre tropes by confronting and challenging them, this gory thriller offers a character-driven approach to serial-killer sagas. The nonlinear story chronicles a young woman (Willa Fitzgerald) and a man known as the Demon (Kyle Gallner), which explains his violent behavior. Yet not everything is as it seems as we progress through various stages of their relationship and its ultimate resolution, peppered by vicious murders. Bolstered by strong performances, the twisty screenplay by director J.T. Mollner (Outlaws and Angels) is deliberately paced yet consistently able to build suspense as it probes gender politics and sexual obsession. It brings a fresh eye to familiar narrative territory. (Rated R, 96 minutes).

Summer of Violence

Although its intentions are certainly admirable, this earnest coming-of-age drama about racial identity and artistic inspiration is overwhelmed by melodramatic contrivances. Naomi (Kasey Inez) is a recent college graduate in Denver whose decision to forego law school and become a poet angers her parents. When she falls for a former gang member (Jahking Guillory) looking for reform his ways, Naomi’s channels her creativity into advocacy for nonviolence, which carries eye-opening risks. Unfortunately, moviegoers will always be a step ahead of the characters, whose convenient naivete and lack of common sense becomes a narrative crutch. The resulting lack of authentic emotional grounding leads to heavy-handed messaging. (Not rated, 104 minutes).

The Supremes at Earl’s All-You-Can-Eat

An esteemed cast can’t overcome the heavy-handed contrivances peppered throughout this melodrama from veteran television director Tina Mabry about the links between empowerment, cultural identity, and the virtues of sisterhood. The story chronicles Odette (Aunjanue Ellis-Taylor), Barbara Jean (Sanaa Lathan), and Clarice (Uzo Aduba) from when they meet in 1969 and form a bond as teenagers at their favorite neighborhood diner, and 30 years later, when their friendship is tested while navigating regrets, marital turbulence, and mortality. The chemistry between the actors yields heartfelt charm and generates poignancy when necessary. However, when probing deeper themes, the nonlinear screenplay is schmaltzy rather than insightful or profound. (Rated PG-13, 124 minutes).