Capsule reviews for April 10

Blush

As everything unravels around the main character in this overwrought suburban satire, moviegoers might relate more closely than intended. Cathy (Wendi McLendon-Covey) is a volunteer mom who covets structure and control, even as she hits a marital rut. Things take a turn when she spends a few weeks cat-sitting for her sister, meets a neighbor (Christine Woods) and her nerdy teenage son (Max Burkholder), whose lives are a mess. Suddenly, she begins a downward spiral of reckless impulses. McLendon-Covey (Bridesmaids) finds sympathy in a troubled yet relatable character that deserves a better movie. Instead, the screenplay struggles to sufficiently modulate its various secrets and subplots. (Not rated, 103 minutes).

The Lost Husband

Maybe this wholesome domestic drama about grief and reconciliation would be a better fit on the small screen. It chronicles Libby (Leslie Bibb), who’s still mourning her husband’s tragic death and carry other emotional baggage when she arrives with the kids at the goat farm of her estranged aunt (Nora Dunn) looking to start over. After learning the trade under the ranch manager (Josh Duhamel), romantic sparks develop. But she’s not sure whether it feels right. Amid the bits of small-town charm and mildly intriguing character dynamics, the film lacks sufficient depth to develop much emotional resonance. The solid performance are undermined by heavy-handed melodrama. (Rated PG-13, 109 minutes).

Sea Fever

Beneath the familiar genre elements on the surface, this unsettling and unexpectedly topical thriller dives deep for some claustrophobic chills. It takes place on an Irish fishing trawler led by a surly captain (Dougray Scott) and his take-charge wife (Connie Nielsen). They reluctantly allow a young marine biologist (Hermione Corfield) to tag along for research purposes. Unfortunately, a sea creature also comes aboard by infecting the small crew one-by-one with a highly contagious poison. The contained setting builds tension with greater urgency than the script’s unjustified slow-burn tactics. Still, with nods to body-horror classics, it eventually realizes that the most compelling character is outside the boat. (Not rated, 89 minutes).

Stray Dolls

With energy and audacity to spare, the titular characters are more compelling than the generic crime thriller they inhabit. Riz (Geetanjali Thapa) is an immigrant from India who lands a job as a maid at the seediest of motels. Her loose-cannon roommate (Olivia DeJonge) teaches her some survival skills while plotting a scheme that would turn the tables on their ruthless boss (Cynthia Nixon) and her drug-dealing son (Robert Aramayo). In their quest for redemption, the two women generate some appealing chemistry. However, the film jettisons its character-driven approach for some formulaic twists in the second half, and its moral ambiguity dwindles the emotional stakes. (Not rated, 97 minutes).

We Summon the Darkness

Although this subversive slasher exercise puts some clever spins on genre tropes, its biggest and most important twist misses the mark. It adopts an amusing 1980s throwback vibe, following a trio of teenage girls to a heavy-metal concert, where they meet three obnoxious guys eager to party afterward. Then they engage in a night of drunken debauchery at a rural estate, which becomes problematic considering a recent string of satanic murders. The appropriately gory film manages a few laughs and frights, but any potentially intriguing subtext about religion and gender politics is buried under contrivances. The cast includes Alexandra Daddario, Keean Johnson and Johnny Knoxville. (Not rated, 91 minutes).