Capsule reviews for Aug. 14

All Night Wrong

Amid a whirlwind of mayhem and malfeasance, the underlying emotional stakes remain muted in this comedic thriller from director Jason James (Entanglement) that strains to stretch a thin premise to feature length. After meeting on an awkward blind date, Gary (Zach Cherry) and Ell (Maria Bakalova) visit a sleazy motel where they become entangled in a murder mystery involving a stolen car, a bag of cash, and a madman (Tyler Labine) seeking revenge. Cherry and Bakalova play along agreeably, although their banter — detouring into relationship woes — isn’t amusing enough and the twists aren’t clever enough to sustain the tension until the sun comes up. (Not rated, 91 minutes).

The Birthday Party

A magnetic performance by Willem Dafoe bolsters this otherwise flat melodrama about aging, power, greed, petty jealousy, and fractured family dynamics. Dafoe stars as Marco, a 1970s Onassis-style tycoon who flaunts his affluence from his Mediterranean private island. Still grieving a tragedy from years earlier, he throws a hedonistic bash for his daughter (Vic Carmen Sonne), who’s having an affair with Marco’s biographer (Joe Cole). Amid all the secrets and lies, Marco aims to prove that he still firmly controls his own legacy. The stylish film immerses us in its period setting, although the protagonist is consistently more compelling than the action and characters around him. (Not rated, 103 minutes).

Nimrods

As a heartfelt ode to the rebellious roots of legendary punk-rock band Green Day, this rambunctious road-trip saga wants to capture an anarchic spirit yet winds up playing a formulaic tune. In the early 1990s, a teenage Kansas City garage-band frontman (Mason Thames) is pranked into believing they are Green Day’s opener for a New Year’s Eve show in California, triggering a wild cross-country adventure. The band’s followers will appreciate the soundtrack. But despite conveying a certain analog charm, the predictable screenplay by director Lee Kirk (Ordinary World) is more silly than substantial while paying tribute to starry-eyed dreamers risking it all for a big break. (Rated R, 107 minutes).

Paw Patrol: The Dino Movie

Despite a new setting, this latest lighthearted big-screen adventure for the resilient rescue pups feels more familiar than fresh. The story transports our heroes to a tropical dinosaur island after a harrowing shipwreck. When a greedy developer begins a mining operation nearby, it triggers a volcanic eruption that threatens extinction and sends both returning and new Paw Patrol members into action. The energetic action sequences, recognizable voices, and colorful animated visuals — with a welcome nod to representation — might satisfy younger members of the devoted target demographic. However, the screenplay relies on lazy narrative devices while lacking the imagination and charm to captivate more discerning children. (Rated PG, 88 minutes).

Trash Baby

Finding a fresh perspective on familiar coming-of-age themes, this gritty and evocative drama is anchored by a multilayered portrayal from newcomer Esther Harrison. She plays Stevie, a quiet 13-year-old living in an Oregon trailer park, where she becomes torn with the innocence of childhood and the pressures of impending adolescence. During one pivotal summer, as she finds the older and more mature teenagers alluring in multiple ways, Stevie struggles to find her place and her voice. There’s a sense of bittersweet nostalgia in the tender and thoughtful screenplay by rookie director Jacy Mairs, who’s more concerned with raw slice-of-life authenticity than passing judgment or manipulating emotions. (Not rated, 92 minutes).

Union County

Strong performances from actors and non-actors alike propel this gut-wrenching drama of addiction and recovery, which is quietly powerful if thematically familiar. In small-town Ohio, Cody (Will Poulter) has been assigned to a court-mandated rehab program alongside his alcoholic foster brother (Noah Centineo). An opioid abuser for his entire adult life, Cody struggles to cope at first. Will their sibling bond inspire a mutual path to recovery or reinforce their reasons for being there in the first place? The screenplay by rookie director Adam Meeks is compassionate yet unflinching as it incorporates real-life addicts into its fictional narrative arc, adding a layer of gritty authenticity. (Not rated, 97 minutes).