Capsule reviews for Dec. 9

Abattoir

Clearly aimed at those who prefer gratuitous gore to coherent storytelling, this lackluster thriller hints at fresh ideas that aren’t realized. It follows a fledgling journalist (Jessica Lowndes) whose family is murdered mysteriously inside its home, prompting her and a cop (Joe Anderson) to investigate further. Their disturbing finds uncover a pattern of small-town evil. The stylish touches from director Darren Lynn Bousman (who helmed three Saw sequels) convey an atmosphere of creepy gothic noir, but the flat characters — who lack common sense at the most convenient times, of course — and reliance on cheap scares and genre clichés limit the film’s ability to generate consistent tension. (Rated R, 98 minutes).

The Brand New Testament

This delightfully subversive Belgian comedy postulates that God (Benoit Poelvoorde) is alive and living in a Brussels apartment, where he’s cynically taking out his frustrations over humanity’s ills on his wife and 10-year-old daughter (Pili Groyne). With her brother J.C. already having left home in disgust, the resentful girl gains revenge by texting every human with God’s planned date for their death. This leads to mayhem with quirky vignettes ranging from darkly comedic to heartwarming to just bizarre. The script by director Jaco Van Dormael (Mr. Nobody) deftly juggles those shifts in tone without overdosing on sentimentality, and the offbeat result is whimsical but wise. (Not rated, 114 minutes).

Frank and Lola

There have been plenty of gritty indie films about tortured souls looking for love, but this one has better performances and more provocative insight than most. Frank (Michael Shannon) is a chef whose major career breakthrough is threatened by his nagging jealousy regarding Lola (Imogen Poots), his fashion-designer girlfriend. As he becomes suspicious of her past, Frank tracks down a Swedish restaurateur (Michael Nyqvist) under false pretenses. Both characters are deeply flawed but consistently intriguing, and the portrayals generate sympathy even if the screenplay by rookie director Matthew Ross strains credibility in the second half. Still, the film demonstrates visual flair and generally avoids genre clichés. (Not rated, 87 minutes).

Harry Benson: Shoot First

Considering its subject, this documentary about the legendary celebrity photographer known for his candid shots of the Beatles, Muhammad Ali, and others is appropriately breezy and charismatic. It’s a fitting tribute to Benson, the Scottish native who captured some of the most iconic images of the Fab Four during their inaugural American tour in 1964, along with numerous world figures in a career spanning more than a half century. The film takes a straightforward approach by allowing Benson to explain the stories behind his pictures, appropriately turning the lens on someone who had a knack for developing an intimate rapport with the rich and famous. (Not rated, 87 minutes).

Sugar Mountain

Beneath the picturesque snowy Alaskan landscapes, there’s not much suspense in this hollow thriller about Liam (Shane Coffey), whose scheme to save the family fishing business involves his brother Miles (Drew Roy) staging a fake disappearance in the wilderness, then returning after a few days to sell his harrowing story. But things fall apart quickly once the local police chief (Cary Elwes), who happens to be the father of Miles’ girlfriend (Haley Webb), becomes suspicious. Along the way, there’s a half-hearted scrutiny of fame and the media that doesn’t hold up because the characters fail to earn our sympathy amid all the silly twists. (Not rated, 106 minutes).