Capsule reviews for Aug. 1

Architecton

Even when you’re logistically lost, the best way to appreciate the latest visual essay from Russian auteur Victor Kossakovsky (Aquarela) is to just give into its vivid and immersive imagery. Eschewing traditional documentary forms, the film sees and studies our planet in ways we might not, specifically focusing on the use of geologic materials — from stone to concrete — as a fundamental building block for structures spanning centuries. Outside of the breathtaking cinematography and drone footage, Kossakovsky weaves a persuasive argument for finding beauty in the sturdy and resilient edifices large and small, old and new, which are still standing or destroyed by natural or man-made means. (Rated G, 98 minutes).

Delegation

While its premise feels contrived, this quietly perceptive coming-of-age drama is a tender and heartfelt story of shared experiences bridging the past and the future. It follows a field trip for a class of Israeli high schoolers to Poland to visit Holocaust memorial sites, focusing on three of them who navigate the gravity of the history lesson along with their own issues involving relationships and impending adulthood. The narrative momentum occasionally lags in the screenplay by director Asaf Saban, but at least the film doesn’t wallow in sentimentality or offer a predictable path to catharsis. There’s an authenticity to the characters, for better and worse. (Not rated, 101 minutes).

Harvest

For those on the same offbeat wavelength, this idiosyncratic period saga of human folly and tragedy from Greek filmmaker Athina Rachel Tsangari will resonate beyond its deliberate pace. It’s set in an isolated English farming village beset by fire, which the locals blame on outsiders visiting at the request of a powerful landowner (Harry Melling), but whose presence erodes trust and prompts suspicion. As the social fabric unravels, a soft-spoken widower (Caleb Landry Jones) is forced to play referee. Although its obtuse narrative approach creates a frustrating emotional distance, the film cumulatively builds potency and complexity as an eccentric look at xenophobia and ingrained belief systems. (Not rated, 133 minutes).

Queen of Bones

Emphasizing atmosphere over plot, this bleak episode of folk horror from Canadian director Robert Budreau (Born to Be Blue) is more tedious than thrilling. It’s set in rural 1930s Oregon, where precocious teenage siblings Sam (Jacob Tremblay) and Lilly (Julia Butters) live with their domineering religious zealot father (Martin Freeman), who’s also a grieving widower. As a new woman (Taylor Schilling) moves in, the youngsters discover a book of witchcraft that might tie their late mother to a local legend. The strong cast helps inject emotional depth and complexity. However, aside from its period visual flourishes, the deliberately paced film might fit better on stage. (Not rated, 90 minutes).

She Rides Shotgun

Offering a character-driven approach to familiar themes, sympathy ultimately eludes this crime thriller from director Nick Rowland (Calm with Horses) along its road to redemption. Polly (Ana Sophia Heger) is a precocious 11-year-old girl whose ex-con father, Nate (Taron Egerton), takes it upon himself to reconnect and become her caretaker. But he’s also on the run from drug traffickers and corrupt authorities who have a score to settle from Nate’s past misdeeds. Polly inevitably becomes caught in the middle as a detective (Rob Yang) closes in. The performances are strong, yet as the story becomes more formulaic, the father-daughter dynamics don’t resonate as powerfully as intended. (Rated R, 120 minutes).

Souleymane’s Story

Effectively tugging at the heartstrings rather than resorting to heavy-handed preaching, this French immigration drama from director Boris Lojkine (Camille) offers humanity and a glimmer of hope amid harrowing circumstances. Kind-hearted yet quick-tempered, Souleymane (Abou Sangare) is a Guinean refugee illegally working as a bike courier and living at shelters in Paris. The film follows the days leading to his asylum hearing, as he scrambles to cheat the system in order to secure a better life for his family. But at what cost? Despite some mild contrivances, it resonates with gritty compassion while conveying urgency on behalf of countless real-life Souleymanes left in limbo. (Not rated, 92 minutes).

Together

Beneath its narrative gimmicks and jump scares, the frights in this intimately creepy thriller are rooted in real-life anxiety and paranoia. The intimate story involves musician Tim (Dave Franco) and schoolteacher Millie (Alison Brie), who relocate to a small town. After a mishap while exploring the nearby woods, both begin to experience strange sensations that cause them to gradually lose control of their minds and bodies — yet prompt an unexpected connection. The unsettling screenplay by rookie director Michael Shanks offers more character depth that you might expect, building tension and giving its clever twists a visceral potency beyond the gross-out body horror and power tools. (Rated R, 102 minutes).

Trouble Man

Best when it leans into its throwback vibe, this contemporary vigilante thriller from actor-director Michael Jai White (Outlaw Johnny Black) stumbles whenever it wants to be taken seriously. White stars as an aging Atlanta private investigator — tough guy and ladies’ man — hired by a record executive (Orlando Jones) to find a missing singer (La La Anthony), which forces him to use his brains and brawn to untangle a criminal conspiracy. White playfully indulges some gritty 1970s “blaxploitation” influences but any tension is compromised by an endless string of obvious cliches and cartoonish stereotypes. The cast includes Cliff “Method Man” Smith, Mike Epps, and Gillian White. (Not rated, 93 minutes).

War of the Worlds

Failing to muster any meaningful suspense from its misguided gimmick, this reimagining of the classic H.G. Wells science-fiction saga — told entirely via screens — becomes more ridiculous as it goes along. It primarily unfolds through the computer of government surveillance expert Dave (Ice Cube) cautioned about an impending disaster by a NASA scientist (Eva Longoria). As the resulting meteor shower turns into a global cyberattack, Dave navigates a conspiracy rabbit hole while scrambling to repair fragile relationships with his two children. The half-hearted message about tech corruption and online privacy carries political overtones, but rings hollow as the film never elevates the emotional stakes. (Rated PG-13, 90 minutes).