Capsule reviews for Oct. 23

Junk

Two overlapping stories compete for the spotlight in this uneven crime drama that muddles its satirical ambitions with narrative gimmickry. It’s set in Hollywood, where a pompous screenwriter (David Schwimmer) has gotten financing for his directorial debut, while his cynicism conceals an insecure existential struggle. His story intersects with that of two friends (Talia Ryder, Dominic Fike) enduring a desperate all-night odyssey to find a missing bag, which brings them into contact with some unscrupulous rogues. The two segments differ in visual style and emotional grounding, with opioid addiction as their primary thematic link. The result is energetic yet hollow, despite a talented ensemble cast. (Not rated, 99 minutes).

Love Language

Following the relationship travails of affluent millennials with 90s romantic-comedy sensibilities, this predictable comedy seems more eager to indulge genre staples than to break from them. It follows a struggling author (Chloe Grace Moretz) who discovers a talent for ghost-writing wedding vows. With her self-imposed biological clock ticking, she also meets a cool guy (Anthony Ramos) at a wedding only to be drawn instead to an ex-classmate (Manny Jacinto) who happens to be engaged. Despite some intermittent laughs, the screenplay by rookie director Joey Power is driven by cutesy contrivances rather than endearing us to care about who winds up together or apart in the end. (Not rated, 104 minutes).

The Only Living Pickpocket in New York

A lived-in performance by John Turturro bolsters this slight yet compelling crime drama that evokes a gritty throwback vibe, just like its morally conflicted title character. Turturro plays Harry, who spends every day crisscrossing the boroughs by foot and train, using his old-school tricks to pilfer merchandise to earn a payday from his pawn-shop buddy (Steve Buscemi) while a police detective (Giancarlo Esposito) looks the other way. But a confrontation after stealing a tech device forces Harry to reckon with his profession and his past. An evocative and affectionate tribute to its working-class setting, the film shines as a character-driven portrait of resilience and regret. (Rated R, 88 minutes).

Terrestrial

Like its troubled protagonist, the screenplay for this science-fiction thriller from director Steve Pink (Hot Tub Time Machine) becomes lost between fantasy and reality. Alan (Jermaine Fowler) channeled his obsession with an old sci-fi television show into an apparently lucrative writing career. At least that’s what he wants some old college friends to believe when he invites them to his lavish house for the weekend. But Alan’s erratic behavior makes them suspicious that he’s hiding secrets. Despite some scrappy ambition and solid performances, the film loses coherence and momentum in the final act while juggling some intriguing concepts. Amid its muddled twists, the tension dwindles. (Not rated, 94 minutes).