Capsule reviews for Dec. 5

Come Closer

While it takes a unique perspective on grief through self-discovery, this Israeli coming-of-age drama rarely probes beneath the surface of its conflicted characters. It’s set in Tel Aviv, where a teenager (Ido Tako) dies in a freak accident, leaving his impulsive older sister, Eden (Lia Elalouf), to deal with the aftermath. That includes meeting his secret girlfriend, Maya (Darya Rosenn), a timid classmate who Eden confronts with hostility before their bond evolves in unexpected ways. The screenplay by rookie director Tom Nesher offers an intriguing examination of fractured family dynamics but feels forced while transitioning into more of a psychological thriller in the final act. (Not rated, 107 minutes).

Fackham Hall

Saying the title out loud gives you a decent idea of what you’re in for with this good-natured spoof of British costume dramas from director Jim O’Hanlon (Your Christmas or Mine), which is more noteworthy for its effort than its execution. There are solid laughs sprinkled throughout this lampoon of Downton Abbey and the like, which loosely intertwines stories at a rural manor, including a con man (Ben Radcliffe) who begins working for an aristocratic couple (Damian Lewis and Katherine Waterston), then falls for their daughter (Thomasin McKenzie). The hit-or-miss gags are alternately silly and inspired, although the momentum wanes in the second half. (Rated R, 97 minutes).

Frontier Crucible

As it explores Civil War-era morality and machismo on the American frontier, this slow-burning Western struggles to raise the dramatic stakes. It’s set in 1870s Arizona territory, where an ex-soldier (Myles Clohessy) is delivering vital supplies when he’s stopped by a group needing assistance for a wounded man and his wife. A power struggle ensues with two outlaws (Armie Hammer and Thomas Jane), who seek a new path amid threats of a native uprising. Elevated by a strong cast, the film captures some striking rural landscapes. However, the character-driven screenplay features more talk than action, and starts spinning its wheels well before the brutal climactic showdown. (Rated R, 124 minutes).

La Grazia

Deliberately paced yet quietly perceptive, this thoughtful and contemplative drama from director Paolo Sorrentino (The Hand of God) features a deeply felt performance by his frequent collaborator, Toni Servillo. He plays a widowed Italian president prompted to confront his legacy during his final days in office as he reflects on his late wife, his moral dilemmas and responsibilities — especially when it comes to potential pardons — and lingering doubts about the choices he’s made along the way. Modest but affecting, Sorrentino’s screenplay sidesteps the melodrama and high-stakes twists you might expect in favor of a character-driven political portrait that’s almost refreshing in its dignified, even-handed approach. (Rated R, 131 minutes).

Hunting Season

Mel Gibson puts forth an effort in this pedestrian low-budget crime thriller from director Raja Collins (Crescent City) that hardly seems worth the trouble. Gibson plays Bowdrie, a resourceful loner who lives with his daughter (Sofia Hublitz) in a rural cabin. Then a wounded woman (Shelley Henning) shows up near his property, and Bowdrie shelters her while she recuperates, which leads to a ruthless gangster (Jordi Molla) dispatching his thugs to track her down. Bowdrie is up for the challenge, but getting to that action requires enduring an excessively slow and atmospheric first half during which most of the important dialogue is either whispered or mumbled. (Not rated, 93 minutes).

Little Trouble Girls

Examining familiar coming-of-age themes with a fresh eye and understated potency, this Slovenian drama of sexual and spiritual awakening benefits from expressive performances. It probes oppression through the impressionable eyes of Lucia (Jara Sofija Ostan), who hails from a devoutly conservative family. She joins her Catholic school’s choir just in time for a retreat to a convent, where Lucia’s time paired with a rebellious roommate (Mina Svajger) unleashes previously forbidden temptations and questions about her faith. Although it’s rough around the edges, rookie director Urska Djukic navigates potentially provocative territory with a raw yet tender sensitivity, sidestepping cheesiness or exploitation in favor of clear-eyed empathy. (Not rated, 89 minutes).

Man Finds Tape

An intriguing concept leads to an indifferent resolution in this horror-infused thriller in which the found-footage gimmick tends to constrain more than enhance the story. It’s set in a fictional Texas small town experiencing unexplained phenomena connected to a troubled young man (William Magnuson) who begins acting erratically after watching a series of disturbing old videos, including one from his childhood that might be connected to a creepy televangelist (John Gholson). But his sister (Kelsey Pribilski) suspects something more sinister. The film immerses itself in creepy atmosphere and unspools some unsettling chills, although its twists don’t always pay off, especially in the final act. (Not rated, 86 minutes).

Reflection in a Dead Diamond

Amid the parade of dazzling visual gimmickry and frenetic violence, there’s little room for coherent storytelling in this freewheeling French espionage thriller about a reckoning for an aging spy. Specifically, John (Fabio Testi) is drawn to a mysterious woman while gambling at a luxury resort on the French Riviera, prompting hallucinatory flashbacks to his checkered escapades as a younger man (Yannick Renier), which plays like a cartoonish bloodbath. Established fans of husband-and-wife directors Bruno Forzani and Helene Cantet (Let the Corpses Tan) might appreciate their latest attempt their latest stylish fusion of throwback aesthetic elements, although from a narrative standpoint, it’s more bewildering than beguiling. (Not rated, 87 minutes).

Rosemead

Rich cultural specificity brings nuance to this otherwise uneven drama about grief, mental illness, and parental anxiety that’s heavy-handed yet provocative. It’s set in Los Angeles, where Irene (Lucy Liu) goes into a downward spiral after she receives an unfortunate medical diagnosis while still mourning her husband’s death. Meanwhile, her schizophrenic teenage son (Lawrence Shou) is behaving more erratically, to the extent that Irene suspects he might harm himself or others. Even if its heartfelt ambitions exceed its grasp, the well-acted and unsettling film offers an incisive glimpse into communication gaps in some Asian families who downplay problems and refuse support to keep up appearances. (Rated R, 97 minutes).