Capsule reviews for May 9

Caught by the Tides

Rarely has recycling old ideas felt as fresh as this beguiling experiment from Chinese director Jia Zhang-ke (Still Life), which essentially repurposes footage from his previous projects into a new musical narrative spotlighting his wife and longtime muse, Tao Zhao. She revisits her prior role of Qiaoqiao, who doesn’t speak as she searches for her boyfriend (Li Zhubin) after his disappearance on a business trip threw their future into doubt. Although the film is episodic by nature, and feels choppy and meandering in stretches, its cumulative power as a socially relevant romance extends beyond nostalgia, benefiting from an ambitious sense of discovery and imagination. (Not rated, 111 minutes).

Clown in a Cornfield

At least the title is a bluntly accurate description of this teen-oriented slasher flick, in which characters systematically meet their bloody demise at the hands of a sadistic poor-man’s Pennywise. Yet without much satirical edge or subtext, or meaningful attempt to subvert genre expectations, it feels more familiar than fresh. Quinn (Katie Douglas) moves to a small town with her widowed father (Aaron Abrams) seeking a fresh start. In school, she befriends the rebellious crowd, learning about the dark legend of a clown named Frendo. Some scattered laughs enliven the proceedings, although a handful of clever twists come too late to make a difference. (Rated R, 96 minutes).

Fight or Flight

The “John Wick on a plane” elevator pitch comes to fruition with this amusing adrenaline-fueled thriller that succeeds on its own cartoonish, over-the-top terms. It follows a disgraced hitman (Josh Hartnett) boozing it up in Thailand when he’s recruited by a federal agent (Katee Sackhoff) from his past. The mission involves boarding a transcontinental airliner, finding a target (Charithra Chandran), and returning her alive. Naturally, there are complications when other passengers have their own agendas prior to landing. Gleefully overdosing on violence and mayhem, rookie director James Madigan keeps the pace lively. Even if the flight borders on exhaustion, at least it’s not taken too seriously. (Rated R, 97 minutes).

Henry Johnson

The dialogue outshines the visuals in this collection of alpha-male rants and provocations from director David Mamet, who adapts his own 2023 play for his first film in almost two decades. Sticking to its stagebound roots, the drama consists of four vignettes with two characters each, connected only by the presence of the title character (Evan Jonigkeit), who starts as an ambitious young attorney before winding up in prison. Mamet explores familiar themes such as power, masculinity, morality, and gender politics, beginning with a terrific extended opening sequence in a law office. However, the material feels overall diluted and uneven when translated to the screen. (Not rated, 85 minutes).

Lilly

The influential legacy of Lilly Ledbetter deserves to be celebrated, although this earnest and heavy-handed biopic seems more focused on its message than the woman behind it. Lilly (Patricia Clarkson) spent two decades as an Alabama tire factory supervisor before discovering in 1999 the extent of her unequal pay compared to her male colleagues. After filing a lawsuit for discrimination, she became an underdog crusader for the issue, along the way learning difficult lessons about the influence of political lobbyists and corporate manipulation of the justice system. Clarkson (The Station Agent) channels some of Lilly’s feisty tenacity, although the well-intentioned film overall lacks subtlety and surprise. (Rated PG-13, 93 minutes).

Marcella

Foodies with a particular palate for pasta will best appreciate this affectionate documentary about famed chef Marcella Hazan, which benefits from a flavorful subject even if the filmmaking is rather bland. Through interviews and archival footage, the film traces the life and career of Hazan, who is best known for her cookbooks spreading traditional Italian recipes and techniques to global audiences. The Italy native later gained fame in the United States although perhaps her sometimes stern approach in the kitchen limited her broader media appeal. The film mixes its ingredients into a breezy and compelling tribute to her legacy — and perhaps most importantly, her dishes. (Not rated, 97 minutes).

Shadow Force

Despite a handful of competently staged action sequences to generate some adrenaline, this uninspired espionage thriller from director Joe Carnahan (The A-Team) is formulaic when the bullets aren’t flying. It tracks Kyrah (Kerry Washington) and Isaac (Omar Sy), an estranged couple living in hiding with their young son when they are targeted by a vengeful special forces unit for which they used to work. They must fight to keep everyone alive — and together. As the film struggles to balance the ultraviolent set pieces with tender family drama and awkward comic relief, their battle hardly seems worth the trouble. The cast includes Mark Strong and Da’Vine Joy Randolph. (Rated R, 104 minutes).

Summer of 69

The title of this raunchy coming-of-age comedy doesn’t mean what you think it means, but the majority of the gags in this uneven comedy about sisterhood don’t land as well. It follows Abby (Sam Morelos), a socially awkward teenager who concocts a desperate scheme to land her crush (Matt Cornett) by hiring a stripper named Santa Monica (Chloe Fineman) to offer lessons in self-confidence and empowerment. Their unlikely mentorship arrangement proves mutually beneficial, although not how either of them expected. The chemistry generates a genuine sweetness beneath the broad innuendo, yet the characters aren’t well defined beyond their quirks, which compromises the intended emotional impact. (Rated R, 101 minutes).

Unit 234

With its plot driven by a convenient lack of common sense among its characters, this logistically confined thriller from director Andy Tennant (Hitch) struggles to unlock much suspense. Laurie (Isabelle Fuhrman) is stuck working the overnight shift at the rural Florida self-storage facility she inherited from her late parents. After a visit from a mysterious man (Don Johnson) wanting unauthorized access to a particular unit, she later discovers a medical patient (Jack Huston) handcuffed to a gurney. Uncertain who she can trust, Laurie becomes entangled in a showdown for survival. Johnson steals some scenes as the instigator, although the film bogs down in eye-rolling contrivances. (Not rated, 86 minutes).