Movie Listings for June 7-13 Movies Ratings and running times are in parentheses; foreign films have English subtitles. Full reviews of all current releases: nytimes.com/movies. "After Earth" (PG-13, 1:40) Will Smith and his son Jaden star in this dreary bore, a father-son encounter session tricked out with science-fiction clichés and steeped in motivational uplift, some seemingly borrowed from Scientology. M. Night Shyamalan directed, working from a screenplay that he wrote with Gary Whitta that's based on a story by Mr. Smith. Manohla Dargis ★ "American Mary" (R, 1:43) This compelling horror film about manipulated appearances and revenge concerns a medical student (a fine Katharine Isabelle) who proves popular with her gangster boss and her city's "body mod" (body modification) subculture. Do not get on her bad side. Directed by the talented sisters Sylvia and Jen Soska, the film combines gore, quiet dread, feminist conviction and a visual classicism with impressive, unbelabored dexterity. Yes, like many horror films it's unsettling; but like the best of its genre, it makes you think. Andy Webster ★ "Augustine" (No rating, 1:42, in French, with English subtitles) Alice Winocour's debut feature is a patient-doctor drama about the 19th-century French neurologist Jean-Martin Charcot (Vincent Lindon) and one of his patients, a servant named Augustine (Soko). The story of her treatment for hysteria becomes a Gothic-tinged romance that touches on volatile issues of sex, power and the mysteries of the mind. A. O. Scott ★ "Before Midnight" (R, 1:48) Eighteen years after their encounter on a Vienna-bound train in "Before Sunrise," Celine (Julie Delpy) and Jesse (Ethan Hawke) are vacationing in Greece, nearly a decade into a relationship that has produced twin daughters and a few simmering conflicts. In the course of an afternoon and evening, they talk, eat, argue and explore, once again, the mysteries of time and the paradoxes of love. This episode, the third of Richard Linklater's films about Jesse and Celine, is darker and rougher than its predecessors, and also piercing, funny and close to perfect. Scott "The East" (PG-13, 1:56) A neat little thriller about an undercover agent (Brit Marling) infiltrating a group of anti-corporate activists. Though it has an obvious topical gloss, this film, directed by Zal Batmanglij (who wrote it with Ms. Marling) has more to say about the psychology of the characters than their politics. "Epic" (PG, 1:42) This movie is a hymn to nature rendered in phantasmagoric detail as refined as anything I've seen in a computer-animated family film. As beautiful as it is, "Epic" is fatally lacking in visceral momentum and dramatic edge. Stephen Holden "Fast & Furious 6" (PG-13, 2:08) Vin Diesel and company are back, this time wrecking cars in the name of preventing mercenaries from getting hold of a high-tech gizmo that could wreak havoc in the wrong hands. Michelle Rodriguez, seemingly killed off in an earlier installment, returns but has amnesia and is working for the bad guys. The smash-"em-up climactic scene involves a tank and an airliner. Fans of the series will be pleased. Neil Genzlinger ★ "Fill the Void" (PG, 1:30, in Hebrew, with English subtitles) In Rama Burshtein's debut feature, Shira (Hadas Yaron), a young woman in an ultra-Orthodox enclave in Tel Aviv, must decide whether to marry the husband of her older sister, who has died while giving birth. Ms. Burshtein turns this somewhat melodramatic premise into a sensitive, restrained and emotionally satisfying story of moral exploration and self-discovery. ★ "Frances Ha" (R, 1:26) In this comedy of delayed adulthood and difficult friendship, Greta Gerwig is Frances, an aspiring dancer zigzagging through New York. Noah Baumbach's film, written with Ms. Gerwig, evokes the French New Wave with its on-the-fly black-and-white cinematography and the fizzy recycled music on the soundtrack, but it also captures, wittily and tenderly, the particular anxieties and pleasures of being young right now. "The Great Gatsby" (PG-13, 2:22) Baz Luhrmann's lavish adaptation of F. Scott Fitzgerald's beloved novel is at once a travesty and an act of reverence, mostly in a good way. Chaotic and visually extravagant, it captures the romance of the book and turns its tragic tale into a splashy, trashy opera. Leonardo DiCaprio uses all of his movie-star charm and magnetism to bring Fitzgerald's impulsive, tragic arriviste to life. The rest of the cast is variously vivid and vulgar, but the movie is finally a messy triumph of canny, opulent showmanship with a splendidly anachronistic hip-hop-inflected soundtrack. "The Hangover Part III" (R, 1:40) What is billed as "the epic finale" of this comic trilogy is a dull, lazy walk-through. Along with "The Big Wedding," it has a claim to be the year's worst star-driven movie. Holden