Capsule reviews for Oct. 12

After Everything

Two young lovers are torn apart by a terminal affliction in this romantic drama in which a few distinctive twists can’t salvage an idea that ultimately feels too contrived and familiar. It starts with a diner employee (Jeremy Allen White) being diagnosed with cancer around the same time he begins dating a customer (Maika Monroe), eventually leading to an impulsive wedding before the source of their passion is unexpectedly revealed. White and Monroe develop a convincing chemistry, and their performances convey a sincerity and tenderness in navigating some emotionally tricky subject matter. However, the film’s gimmicky structure and overreliance on cutesy quirks suppress the emotional impact. (Not rated, 95 minutes).

All Square

More than just another youth baseball movie, this character-driven drama cashes in during its time away from the field. Instead, it follows a suburban bookie and ex-ballplayer (Michael Kelly) who scrapes by taking bets from his neighbors on sporting events big and small. In an effort to expand, he starts making odds and taking wagers on local Little League games around the same time he becomes an unlikely mentor to a young pitcher (Jesse Ray Sheps) whose mother (Pamela Adlon) he used to date. The offbeat concept finds a balance of humor and sentiment, while Kelly (“House of Cards”) generates sympathy for a morally conflicted loner. (Not rated, 93 minutes).

Look Away

The mirror on the wall doesn’t reveal the fairest of them all in this lackluster psychological thriller that never gains much narrative traction despite a decent premise. Maria (India Eisley) is a bullied teenager whose low self-esteem results in part from her plastic surgeon father (Jason Isaacs) always commenting on her appearance. Maria finds solace only in her reflection, carrying on conversations that reveal a shared desire to change places for the opportunity to unleash revenge on Maria’s tormenters. Amid a half-hearted commentary about suburban superficiality, the English-language debut of Israeli director Assaf Bernstein contains some creepy imagery without sustaining much tension along the way. (Not rated, 103 minutes).

The Oath

Considering the satiric potential, this shrill comedy about how contemporary politics cause family dysfunction seems like a squandered opportunity. In his directorial debut, Ike Barinholtz (Blockers) plays Chris, whose outspoken lefty views clash with many of his relatives arriving for Thanksgiving dinner. As he refuses to sign the titular document forcing all citizens to pledge their loyalty to the unnamed president — guess who they have in mind? — Chris’ wife (Tiffany Haddish) is left to play referee. Barinholtz is perhaps right to laugh at today’s absurd state of affairs, but his gags would be more impactful if the characters and their antics weren’t so detached from reality. (Rated R, 93 minutes).

Stella’s Last Weekend

Genuine family chemistry elevates this bittersweet romantic comedy about sibling bonds and progressive parenting. Stella is the beloved family dog, whose impending euthanasia due to old age brings college student Jack (Nat Wolff) home to visit. As Jack and his younger brother, Oliver (Alex Wolff), relentlessly tease the new boyfriend of their single mother (Polly Draper), Jack rekindles an attraction to Oliver’s girlfriend (Paulina Singer). Draper’s feature directorial debut stars her two real-life sons, and those built-in relationships add a layer of charm and spontaneity to otherwise breezy and innocuous material. The performances are mischievous enough to prevent the film from turning either obnoxious or sentimental. (Not rated, 102 minutes).

Trouble

There are no winners or cash prizes in the family feud depicted in this low-budget comedy about sibling rivalry and longstanding grudges. Maggie (Anjelica Huston) and Ben (Bill Pullman) squabble over logging rights on their late father’s land. He wants to develop it and she wants to preserve it. Among those caught in the middle are a mutual childhood friend (David Morse) and a rural sheriff (Brian d’Arcy James). Huston and Pullman seem to have fun trading shots — literally and figuratively — although for moviegoers, the constant bickering becomes tedious pretty quickly, and the screenplay by director Theresa Rebeck isn’t dramatically compelling enough to fill the gaps. (Not rated, 100 minutes).