Movie capsules: Short reviews of what’s in theaters

From left: Ed Helms, Heather Graham, Zach Galifianakis, and Bradley Cooper in “The Hangover Part III.”
Melinda Sue Gordon
From left: Ed Helms, Heather Graham, Zach Galifianakis, and Bradley Cooper in “The Hangover Part III.”

New releases

½ The Hangover Part III It doesn’t bother to Xerox the original 2009 hit comedy, as 2011’s witless “Hangover 2” did. Instead, it heads in different, if utterly formulaic, directions. So it’s not terrible. It’s just bad. The gang (Bradley Cooper, Ed Helms, Zach Galifianakis) returns, and so, unfortunately, does Ken Jeong’s prissy-pottymouth gangsta, Mr. Chow. (100 min., R) (Ty Burr)

Previously released

Black Rock You know actress-filmmaker Katie Aselton and her husband, Mark Duplass, from “The Puffy Chair” and TV’s “The League.” They’ve teamed for a backwoods survival thriller directed by Aselton and scripted by Duplass. A mumblecore version of “Deliverance”? Aselton, Lake Bell, and Kate Bosworth are girlfriends who get together for a camping weekend, only to wind up hunted by ex-soldiers. A foray into genre work that’s sturdy in some ways, shaky in others. (81 min., R) (Tom Russo)

½ The Great Gatsby At its best — which, sadly, isn’t often enough — Baz Luhrmann’s version of F. Scott Fitzgerald’s novel is a scandal. It’s also, in event and emotion (if not period fidelity), the most faithful movie version of the book to date. The two are not unconnected. Leonardo DiCaprio gives us the full Gatsby and he’s magnificent, but overlength, over-romanticism, and a badly misused Tobey Maguire as Nick bring it low. In 3-D. (143 min., PG-13) (Ty Burr)


The Iceman The true story of Richard “The Iceman” Kuklinski (Michael Shannon), a New Jersey mob hit man who murdered hundreds while living in the ’burbs with his wife (Winona Ryder) and daughters. Shannon is fine and the subject is fascinating — the beast that lurks inside the family man — but director Ariel Vromen doesn’t have the chops for more than sub- “Sopranos” crime conventions. (106 min., R) (Ty Burr)

Get The Weekender in your inbox:
The Globe's top picks for what to see and do each weekend, in Boston and beyond.
Thank you for signing up! Sign up for more newsletters here

½ Love Is All You Need Love is not all that Danish director Susanne Bier’s rom-com needs; a less generic story and genuine characters would help, too. It’s a rehash of the trite tale of lonely souls who, despite initial friction, realize that they are made for each other. Layered performances by Pierce Brosnan and Trine Dyrholm and the Sorrento landscape can’t overcome an uninspired screenplay. In English and Danish with subtitles. (110 min., R) (Peter Keough)

½ Nicky’s Family Interviews, reenactments, and archival and stock footage that recount the story of Nicholas Winton, a young British stockbroker in 1939 who nearly single-handedly rescued 669 Jewish children from Czechoslovakia and found homes for them in Great Britain. Winton’s inspiring story deserves widespread attention but this inconsistent film isn’t the best representation of it. Still, the interviews with survivors and 103-year-old Winton are compelling. In English, German, and Hebrew, with subtitles. (96 min., unrated) (Loren King)

½ Oblivion It’s 2077, and Earth’s in tough shape. Tom Cruise patrols the devastation, fighting off Scavengers, led by Morgan Freeman. Andrea Riseborough is his communications officer/lover. When Olga Kury­lenko’s spaceship crash lands, things get complicated. Like its star, the movie is cold, efficient, increasingly overblown, and not a little inexplicable. (126 min., PG-13) (Mark Feeney)

½ The Reluctant Fundamentalist Mira Nair (“Monsoon Wedding”) adapts Mohsin Hamid’s acclaimed novel about a young Pakistani (Riz Ahmed, the best thing in the film) who attains the American dream on the eve of 9/11. A quiet character study on the page has been given a high-stakes political-thriller frame, and not for the best. With Kate Hudson, Liev Schreiber, and Kiefer Sutherland. (130 min., R) (Ty Burr)


Renoir A leisurely-paced drama about the final years of Impressionist painter Pierre-Auguste Renoir (Michel Bouquet), bewitched by his last great model (Christa Theret) as his son, the future filmmaker Jean Renoir (Vincent Rottiers), returns from WWI. Dramatically trite but, as shot by cinematographer Mark Ping Bing Lee, visually rapturous. In French, with subtitles (111 min., R) (Ty Burr)

½ Scatter My Ashes at Bergdorf’s More of a mildly entertaining infomercial about the pricey Fifth Avenue department store than a story about the people behind it. Director and writer Matthew Miele stuffs his film full of top-name designers to prove how important the store is, but ultimately misses what makes a fashion documentary riveting: drama. (93 min., PG-13) (Christopher Muther)

Sightseers From the talented Ben Wheatley (“Kill List”), a cheeky low-budget lark about a homicidal couple (Steve Oram and Alice Lowe) on vacation in England’s Lake District. Darkly funny as it is, the movie has undercurrents of genuine and very British weirdness. It doesn’t add up to much, but it doesn’t really need to. (88 min., unrated) (Ty Burr)

The Source Family The ’70s saw its share of spiritual gurus, and Jim Baker both epitomized and transcended the stereotype. He turned a successful health food restaurant into the base for a commune of white-robed young and beautiful adherents, preaching a piecemeal philosophy while leading a life of license and luxury. Maria Demopoulos and Jodi Wille rise above the preconceptions in their bracing documentary, portraying a flawed but formidable embodiment of an American archetype. (98 min., unrated) (Peter Keough)

½ Star Trek Into Darkness The new film just has to convince us that 2009’s “Star Trek” wasn’t a fluke. That it does so — expertly, exhilaratingly — is a mark of director J.J. Abrams’s uncanny ease with modern Hollywood formulas. With Chris Pine, Zachary Quinto, and Benedict Cumberbatch putting a sleekly brutish new spin on an old “Trek” villain. (132 min., PG-13) (Ty Burr)


½ Stories We Tell Is it possible to be anything but subjective when it comes to our families and their stories? This is the endlessly complicated subject of Sarah Polley’s ingenious, multi-level meta-documentary, an inquiry into her late mother, Diane, that widens in scope until director and audience stand at the edge of the abyss. (108 min., PG-13) (Ty Burr)

Find an archive of reviews at