Capsule reviews for April 24

Agon

After starting as a compilation of training montages, this Italian evolves into a cumulatively provocative glimpse into the motives and sacrifices of elite athletes, as well as a cautionary tale about technology and medical science. It follows three women in the weeks leading up to a fictional Summer Games, where they are set to compete in judo, fencing, and shooting, respectively. While dealing with the internal and external pressures for minimal reward, their resilience is threatened by injuries and scandals. The fragmented structure inhibits deeper emotional connection, although rookie director Giulio Bertelli’s intimate visual approach provides a fresh perspective on the psychological toll of Olympic competition. (Not rated, 100 minutes).

Horseshoe

Offering a fresh take on familiar dysfunctional family dynamics, this Irish drama compensates for some narrative missteps by effectively sprinkling humor and charm into a story of grief and discord. It centers on a quartet of estranged siblings who must reunite at the family home to settle the affairs of their abusive after his death. Two of them have remained home as adults, while the other two long since separated themselves from the domestic chaos. As they bicker over the will, common ground remains elusive amid lingering hostilities. Despite some contrivances, the low-budget film is bolstered by strong performances and a relatable sense of emotional authenticity. (Not rated, 88 minutes).

I Swear

Although it succumbs too easily to crowd-pleasing sentiment in the final act, this Scottish biopic of Tourette syndrome advocate John Davidson tells his story with tenderness and sincerity. After being diagnosed as a teenager, John (Robert Aramayo) becomes a social outcast due to his persistent involuntary tics. Distancing himself from his exasperated mother (Shirley Henderson), he finds an ally in a mental-health nurse (Maxine Peake) while seeking independence and acceptance. Propelled by Aramayo (Dance First), the film refuses to wallow in shame or embarrassment, instead sprinkling self-deprecating humor amid the cringeworthy anxiety. The ability to navigate that tonal tightrope enables broader insight and promotes understanding. (Rated R, 121 minutes).

Kangaroo Island

Despite the titular marsupials and some lovely accompanying scenery, the human drama in this heavy-handed saga of redemption and reconciliation bogs down in melodramatic contrivances. It centers on Lou (Rebecca Breeds), a struggling actress who returns from Los Angeles to her small hometown in Australia when she’s forced to confront lingering hostilities with her estranged sister (Adelaide Clemens), who married Lou’s ex-sweetheart (Joel Jackson) and wants to convert her to Christianity. Will the declining health of their father (Erik Thomson) bring them together or drive them further apart? The script’s fractured family dynamics are too familiar, redeemed only partially by committed performances and heartfelt intentions. (Not rated, 113 minutes).

Omaha

An incisive glimpse into life on the socioeconomic margins, this bleak road-trip drama is a quietly powerful story of grief and parenthood. Still reeling from a family tragedy, a father (John Magaro) is out of money and out of options. He takes his two young children and the family dog from Reno to Omaha without telling them about what the future holds. Despite its familiar narrative structure, the film builds compassion not via pity or guilt, but by putting moviegoers in the protagonist’s shoes and identifying with the raw emotion behind his choices and circumstances. Magaro’s portrayal finds a glimmer of hope amid the heartbreak. (Rated PG-13, 84 minutes).

Over Your Dead Body

Featuring some clever ways to keep its one-joke premise spinning, this thinly sketched comedic thriller from director Jorma Taccone (MacGruber) nevertheless can’t sustain its humor or tension throughout. A film director (Jason Segel) talks his unfaithful actress wife (Samara Weaving) into a snowy weekend at their cabin, where he plans to murder her. Coincidentally, she secretly plans the same fate for him. But some unannounced visitors keep them alive longer than expected. The film arbitrarily amplifies the mayhem with petty bickering, gross-out gags and extreme violence among characters who are both incompetent and indestructible. By the end, we’ve lost interest in who lives or dies. (Rated R, 105 minutes).

Ricky

Contrivances undermine the worthwhile message in this gritty yet preachy drama from rookie director Rashad Frett about recidivism and the need for criminal justice reform. Ricky (Stephan James) returns home after spending half of his 30 years behind bars, becoming acclimated and seeking work, while renewing some toxic acquaintances, most notably with his trainwreck of a mother (Simbi Kali). Frustrated and prone to angry outbursts, Ricky’s contentious relationship with his parole officer (Sheryl Lee Ralph) might unlock his only hope for a brighter future. Outside of richly textured performances by James and Ralph, the heavy-handed film’s lack of subtlety leaves it more compassionate than convincing. (Rated R, 111 minutes).

Two Women

Starting out as a playful throwback homage, this update of a 1970 French-Canadian sex comedy stumbles when aiming for a more dramatic probe of empowerment, parental anxieties, and gender politics. It’s set in Montreal, where Florence (Karine Gonthier-Hyndman) whose husband is not satisfying her increased libido after ditching antidepressants. Meanwhile, neighbor Violette (Laurence Leboeuf) has seen her boyfriend’s eyes wander after she gave birth. So they both begin summoning and flirting with repairmen to satisfy their desires and flip the dynamics. Reimagining the material through a contemporary feminist lens doesn’t yield much fresh relationship insight or perspective beneath the breezy and amusing shenanigans on the surface. (Not rated, 98 minutes).