Capsule reviews for March 26

Bad Trip

You pretty much get what you expect in this compendium of low-brow pranks that combines Jackass with Borat. The hidden-camera shenanigans follow a loose storyline about best friend Chris (noted provocateur Eric Andre) and Bud (Lil Rel Howery) going on a road trip to New York in a car stolen from Bud’s domineering sister (Tiffany Haddish). As they engage in all manner of hijinks — from gorilla encounters at the zoo to drunken escapades at a country bar — the emphasis is on gross-out humiliation and public spectacle. Perhaps it deserves credit for audacity, but despite some scattered laughs, the formulaic structure limits the intended shock value. (Rated R, 84 minutes).

The Good Traitor

Henrik Kauffmann makes a fine addition to the cinematic canon of unheralded World War II heroes, but this uneven biopic struggles to blend elements of melodrama and political thriller into an emotionally rousing saga. Kauffmann (Ulrich Thomsen) was a Danish ambassador in Washington during the outset of the war. He proceeded to make enter some controversial agreements that prove beneficial for his country’s freedom. But behind the scenes, he endured personal turmoil involving his mentally unstable wife (Denise Gough). Given the story’s inherent shortage of action, the film probably could have generated more consistent suspense with a tighter focus. At least Thomsen’s portrayal is convincing. (Not rated, 115 minutes).

The Marijuana Conspiracy

Perhaps controlled substances would enhance appreciation of this historical drama, which is too trite and unfocused from a clear-eyed perspective. Inspired by real-life events, it centers on a social experiment during the 1970s during which several young women were sequestered for three months and given nightly cannabis while their mental and physical reactions are recorded. Later, however, the subjects grow skeptical and begin to push the boundaries. It’s an intriguing concept, although the meandering screenplay is too shallow to work as a character study. As an exploration of sexual politics and oppression, the film lacks the subtlety and surprise to provide the intended emotional high. (Not rated, 123 minutes).

Miracle Fishing

More evidence of fact being more compelling than fiction, this powerful documentary revisits the harrowing true-life incident that inspired the lackluster 2000 thriller Proof of Life — namely the 1994 abduction of agricultural researcher Tom Hargrove by guerrillas affiliated with a Colombian drug cartel. That led to a yearlong ordeal for his family during negotiations with the kidnappers over the ransom and potential release. One of those family members was Miles Hargrove, Tom’s son, who turned his remarkably candid amateur video diary into a riveting debut feature filled with suspenseful twists and turns. But the intimate film also connects with moviegoers on a deeper emotional level. (Not rated, 107 minutes).

Senior Moment

While it’s nice to see older actors enjoy the romantic spotlight, this mischievous comedy squanders the talents of its esteemed ensemble. Victor (William Shatner) is a retired pilot whose reputation for driving recklessly with his buddy (Christopher Lloyd) around Palm Springs in his classic convertible leads to a license suspension. So he’s forced to take the bus around town, which enables a meet-cute with a café owner (Jean Smart) looking to tame Victor’s womanizing ways. The actors generate a chemistry that should charm the target demographic, but they’re saddled with a lackluster screenplay featuring mostly flat one-liners, minimal character development, and little subtlety or surprise. (Not rated, 92 minutes).

The Seventh Day

Providing a slight Training Day twist on a well-worn formula, this mildly creepy exorcism thriller is only for the most devoted genre aficionados. Set in New Orleans, it centers on a rookie priest (Vadhir Derbez) lured into a crash course from a renowned practitioner (Guy Pearce) with controversial methods. Their partnership is threatened by a case involving a young boy (Brady Jenness) whose possession by sinister demons runs deep and gets personal. Pearce offers a compelling portrayal in an underwritten role, and the film manages some intense exorcism sequences. Yet for the most part, it feels content to rehash old spiritual and supernatural tropes. (Rated R, 87 minutes).

Shoplifters of the World

Basically a feature-length musical tribute to The Smiths, this ensemble coming-of-age saga is more noteworthy for its nostalgic quirks than its emotional resonance. The story follows a group of Denver teenagers who are crestfallen upon hearing of the British pop band’s breakup in 1987. Claiming the angst-ridden ballads provide an outlet for social outcasts, a record-store employee (Ellar Coltrane) hijacks a radio station for an all-night marathon tribute while his crush (Helena Howard) orchestrates the party outside. Morrissey fans might appreciate this deep-dive into the catalog, but the thinly sketched characters don’t have much to say about artistic expression or the unifying power of music. (Not rated, 91 minutes).

The Toll

Indulging in genre tropes rather than subverting them, this low-budget horror effort about a chatty rideshare driver (Max Topplin) and his weary female passenger (Jordan Hayes) isn’t worth the trip. The familiar setup involves a stalled car on a rural road in the middle of the night, and shadowy figures lurking in the woods providing no means of escape. Their supernatural adversary is the mysterious Toll Man, who wants more than just your cash. The tightly wound screenplay by rookie director Michael Nader traverses familiar territory, yielding some effective jump scares before settling for arbitrary twists rather than providing a more cerebral narrative payoff. (Rated R, 80 minutes).

The Vault

Requiring substantial forgiveness of its numerous logical gaps, this slick yet derivative British heist thriller never manages to raise the emotional stakes. It’s set in 2010, when an engineering prodigy (Freddie Highmore) is recruited to help mastermind a theft of rare coins from an impenetrable vault hidden beneath the Bank of Spain. After some nerdy strategizing, the high-tech robbers time their scheme to coincide with Spain’s involvement in the World Cup final, when the resulting mayhem in Madrid will cause the necessary distraction. Shamelessly borrowing from numerous genre predecessors, the film generates mild suspense during the perilous caper itself, although it lacks character depth and motivation. (Rated R, 118 minutes).