Capsule reviews for Nov. 6

The Dark and the Wicked

Beneath its familiar genre elements, this slow-burning horror story of evil infiltrating a rural family is consistently ominous and creepy. It takes place on a Texas farm, where siblings Louise (Marin Ireland) and Michael (Michael Abbott Jr.) have come to say goodbye to their dying father. The erratic behavior of their mother (Julie Oliver-Touchstone), however, suggests more than just unresolved grief. When religious artifacts give way to bizarre happenings, their suspicions of a haunted family legacy are confirmed. The screenplay by director Bryan Bertino (The Monster) doesn’t rely too heavily on jump scares or gratuitous gore, instead building gradual suspense through what’s felt rather than shown. (Not rated, 94 minutes).

Jungleland

The working-class setting and the hardscrabble characters both feel familiar in this generic road-trip drama from director Max Winkler (Flower). It starts in Boston, where hot-tempered Stanley (Charlie Hunnam) trains younger brother Lion (Jack O’Connell) as a bare-knuckle boxer to help them escape their financial downward spiral. They land a spot in a lucrative tournament in California, under the condition they deliver a teenager (Jessica Barden) to a shady Reno crime boss along their way. The performances elicit more hard-earned sympathy than the screenplay deserves. The film lacks emotional depth and structural originality beneath its testosterone-fueled outbursts, despite a finale that packs a punch. (Rated R, 89 minutes).

Kindred

There’s a compelling short film about fragile family dynamics hidden within this modestly taut British thriller that unfortunately lacks enough twists to sustain itself at feature length. It follows Charlotte (Tamara Lawrance), whose boyfriend dies suddenly while she’s pregnant. His grief-stricken mother (Fiona Shaw) becomes obsessed with the unborn baby and uses her other son (Jack Lowden) in a sinister game of manipulation with Charlotte to ensure the newborn stays with her in their rural mansion. Lawrance and Shaw offer committed performances as the adversaries, although this atmospheric exercise in psychological horror struggles to sufficiently develop the thematically familiar tension simmering beneath the surface. (Not rated, 101 minutes).

Luxor

A deeply felt portrayal by Andrea Riseborough (Oblivion) galvanizes this slight but quietly powerful character study about reconciliation and rebirth. She plays Hana, a British aid worker who returns to the ancient Egyptian city of Luxor, where she becomes enamored with the historical and spiritual significance of her surroundings. Hana also reconnects with an archaeologist (Karim Saleh) in a way that suggests she’s still haunted by her past. The contemplative screenplay by director Zeina Durra leaves plenty open to interpretation, sometimes to a frustrating degree. However, Riseborough provides an emotional anchor during the film’s narrative meandering. At least it functions as a visually striking travelogue. (Not rated, 85 minutes).

Mortal

A diverse collection of superhero influences can’t save this uneven science-fiction fantasy from Scandinavian director Andre Ovredal (Trollhunter), in which ambition surpasses execution. Eric (Nat Wolff) wanders alone in the Norwegian woods, unsure of how to control his mysterious electrical powers that wind up killing a passing motorist. That murder gets him thrown in prison, where he meets a psychologist (Iben Akerlie) who sympathizes with his plight and aids his effort to harness his gifts for good. Wolff is captivating, but the wobbly attempt at an origin story feels arbitrary and lacks emotional conviction. Plus, the gritty real-world setting clashes with the subpar visual effects. (Rated R, 104 minutes).

Proxima

Many can relate to the strain on working parents trying to balance job and family obligations. But this sharply observed drama takes it further in chronicling a French astronaut (Eva Green) in training for a yearlong mission aboard the International Space Station. While enduring chauvinistic colleagues like an American pilot (Matt Dillon), the bigger psychological burden comes from the impending time away from her 8-year-old daughter (Zelie Boulant). This astronaut story remains grounded for the right reasons, as the bilingual screenplay by director Alice Winocour (Disorder) is a heartfelt and humane tribute to the unique challenges facing mothers in space that doesn’t settle for cheap sentimentality. (Not rated, 107 minutes).