Capsule reviews for Sept. 5

Frontera

Familiar themes of border security, cultural distrust and socioeconomic disparity are given a slightly fresh twist in this melodrama about a former Arizona sheriff (Ed Harris) whose wife is killed while riding a horse not far from their ranch. While the perceived killer is a Mexican man (Michael Pena) who crossed the border illegally, an investigation reveals the truth to be more complicated. The film is told from multiple perspectives yet it feels like an oversimplified examination of potentially provocative subject matter. Harris is terrific, but as the characters rush to judgment, the blame game plays out in predictable fashion, with tragic consequences for all. (Rated PG-13, 103 minutes).

God Help the Girl

What starts out as a slight if pleasant diversion rambles into repetitive annoyance in the directorial debut of Stuart Murdoch, lead singer of the Scottish pop group Belle and Sebastian. Taking place in Glasgow, it’s a musical about Eve (Emily Browning), a troubled young woman whose songwriting helps to stabilize her emotions, and leads to a summer of quirky adventures with impetuous musicians James (Olly Alexander) and Cassie (Hannah Murray). Some of the tunes are catchy and the production numbers are choreographed with a charming whimsy, but ultimately the mundane lyrics don’t have enough substance beneath the surface to give the film weight at feature length. (Not rated, 111 minutes).

Kelly and Cal

This character-driven drama about a friendship between two lost souls has enough tender honesty to overcome some final-act contrivances. Kelly (Juliette Lewis) is having a difficult time adjusting to suburban motherhood when she meets Cal (Jonny Weston), a teenager in a wheelchair who encourages Kelly to embrace her past as a punk rocker. Of course, their relationship eventually draws suspicion from her supportive husband (Josh Hopkins). The result is an alternately serious and amusing look at mid-life crises and social outcasts in which solid chemistry between the two leads overcomes the predictability in the uneven script. Some moms might be able to relate to her plight. (Rated R, 110 minutes).

The Longest Week

Wes Anderson shouldn’t feel threatened by this pretentious romantic comedy about a smug wannabe writer who lives off his family’s money (Jason Bateman) in a Manhattan luxury hotel until he’s evicted and disinherited. Refusing to acknowledge his new financial hardship, he moves in with his artist friend (Billy Crudup) and subsequently falls for his girlfriend (Olivia Wilde), who doesn’t know the secret about his lost fortune. The deadpan, snarky humor in the script by rookie director Peter Glanz produces a few big laughs and helps to offset the lack of any sympathetic characters for a while. But the later attempts at emotional resonance fail. (Rated PG-13, 86 minutes).

No No: A Dockumentary

You don’t have to be a baseball fan to appreciate this look at the life of Dock Ellis, the flamboyant former Pittsburgh Pirates pitcher who threw a no-hitter in 1970 while he claims to have been high on LSD. Although it rambles in spots, the film offers a compelling chronicle of Ellis through interviews and archival footage, detailing his triumphs and struggles, both on and off the field. Rookie director Jeffrey Radice clearly appreciates Ellis for his personality and talent, but his approach doesn’t cross over into hagiography, instead offering context about the social and cultural climate in baseball during Ellis’ controversial career. (Not rated, 100 minutes).