Capsule reviews for July 18

Cloud

More noteworthy for its eccentricities than its suspense, this psychological thriller from Japanese director Kiyoshi Kurosawa (Cure) nevertheless puts an intriguing twist on familiar genre elements. It’s primarily a cautionary tale about a factory worker (Masaki Suda) who quits his job in order to expand his side hustle as an online reseller. However, his ambitious entrepreneurial dreams trigger an unexpected downward spiral. Kurosawa’s screenplay stretches credibility to the extreme, which might not even matter. But even if it winds up insubstantial in the end, the film has style and attitude to spare as it spins an offbeat yet relevant tale of greed, corruption, and vengeance. (Not rated, 124 minutes).

Finally Dawn

The tributes to Italian cinema from a bygone era resonate more powerfully than the story that drives this handsomely mounted period piece that’s more tedious than charming. It follows an impressionable young woman (Rebecca Antonaci) who auditions for a role in an epic film and becomes swept up in the behind-the-scenes atmosphere during a whirlwind production that becomes a surreal journey of self-discovery after she befriends a lead actress (Lily James). The affectionate screenplay by Saverio Costanzo (Hungry Hearts) ambitiously celebrates the movies while lacking sufficient narrative momentum or emotional depth on its own. The cast includes Rachel Sennott, Joe Keery, and Willem Dafoe. (Not rated, 119 minutes).

No Sleep Till

Countless Floridians have their evacuation routine prepared for activation during hurricane season. But what about those who stay behind? They are the focus of this evocative docudrama that emphasizes mood and atmosphere over linear plot. It chronicles about 24 hours in suburban Jacksonville, with the harrowing forecast triggering uncertainty for a fledgling standup comedian and his buddy who turn their escape plan into an existential journey, an amateur storm chaser, a teenage skateboarder and his crush, and others. Although the fragmented narrative approach inhibits a deeper emotional connection, this sharply crafted debut for director Alexandra Simpson effectively captures universal anxieties within its specific blue-collar setting. (Not rated, 93 minutes).

Saint Clare

Some intriguing ideas and mild frights are squandered by tonal inconsistency and heavy-handed subtext in this revenge thriller that lacks much narrative substance beneath its visual flourishes. Clare (Bella Thorne) is a socially awkward newcomer at a posh Catholic high school, with her classmates unaware of her troubled past, including the deaths of her parents. When a series of girls go missing and a detective (Ryan Phillippe) starts asking questions, Clare is further burdened by ghosts and hallucinations connected to personal crimes. With muddled religious symbolism, the title character is more compelling than the story around her, which never generates consistent suspense beyond the haunting imagery. (Not rated, 92 minutes).

Shari and Lamb Chop

With insight and nostalgic charm, this delightful documentary from director Lisa D’Apolito (Love, Gilda) provides a well-deserved tribute to pioneering ventriloquist, musical artist, author, activist, and children’s performer Shari Lewis, whose multifaceted career spanned decades — almost always with beloved puppet Lamb Chop on her right arm. Assembling archival footage from her numerous television appearances, the film chronicles her upbringing in an artistic family, her breakthrough in a male-dominated profession during the 1950s, her workaholic commitment that led to a volatile personal life, and her perseverance to keep reinventing herself up until her death. It captures her passion and spirit while saluting her talent and enduring legacy. (Not rated, 92 minutes).

Unicorns

We meet two people at a compelling crossroads in their respective lives in this tender and heartfelt romantic drama, but the relationship that brings them together feels too contrived to resonate as intended. In London, Luke (Ben Hardy) is a mechanic and single father who falls for nightclub performer Aysha (Jason Patel) before realizing he’s actually a drag queen. From there, Luke tries to reconcile his own feelings and masculine expectations while Aysha fights for acceptance, even within his own family. The screenplay by co-director James Krishna Floyd promotes worthwhile messages of inclusion and love, although the opposites-attract connection between Luke and Aysha rarely sparks. (Not rated, 119 minutes).