Capsule reviews for Jan. 15

Acasa, My Home

The concept seems simple enough, but this multilayered Romanian documentary uncovers a deeply emotional exploration of how home defines family — that feels both specific and universal. It follows a few years in the life of a grifting family whose nine children were raised off the grid in a makeshift shack near the Bucharest Delta. When the city turns their adopted land into a public park, however, the socioeconomically disadvantaged clan is uprooted and struggles to acclimate to a more urban lifestyle. Employing a strictly observational approach, rookie director Radu Ciorniciuc captures some striking imagery without passing judgment on his subjects or their unique plight. (Not rated, 86 minutes).

The Delivered

Both amusing and unsettling, this character-driven thriller finds the right mix of camp and conviction while exploring spiritual freedom and sexual liberation in rural 17th century England. John Lye (Charles Dance) is a puritanical landowner living with his repressed wife, Fanny (Maxine Peake), and young son. John’s decision to reluctantly welcome a mysterious young couple to their farm backfires when Fanny becomes entranced by their uninhibited behavior. Plus, they’re fugitives from a ruthless sheriff who doesn’t approve of their blasphemy. The screenplay by director Thomas Clay suffers from tonal inconsistency, although Peake’s committed performance resonates as a portrait of burgeoning feminism amid rigid patriarchal customs. (Not rated, 112 minutes).

Don’t Tell a Soul

A guilty conscience is the main adversary facing two teenage robbers in this low-budget crime thriller, which stumbles under the weight of absurd final-act twists. After they steal cash from an abandoned home, Joey (Jack Dylan Grazer) and his hot-tempered older brother, Matt (Fionn Whitehead), elude a security guard (Rainn Wilson), who falls down a well. Joey returns to check on the injured man, but later learns some secrets about him that changes the dynamic between the sibling thieves. Despite an intriguing premise and committed performances, the screenplay by rookie director Alex McAulay lacks the character depth and moral complexity to maintain consistent suspense. (Rated R, 83 minutes).

Love Sarah

Perhaps it’s appropriate that this innocuous comedy about a quaint British bakery takes on the qualities of a fine pastry — warm and sweet, but not very filling. Based on a true story, it follows a rebellious teenager (Shannon Tarbet) still grieving her mother’s death. She impulsively pursues mom’s dream of opening a London eatery, both to honor her memory and heal a fractured relationship with her eccentric grandmother (Celia Imrie). While the actors convey a charming chemistry, and the food looks yummy, the contrived script leaves a sour taste. In assuring all the subplots are neatly tied up, the film is all dessert and no meal. (Not rated, 97 minutes).

The Marksman

Liam Neeson takes a page from Clint Eastwood’s playbook in his latest bland vigilante thriller, which teams him with filmmaker and frequent Eastwood collaborator Robert Lorenz (Trouble with the Curve). Neeson plays a rancher along the Arizona border who reluctantly begins caring for a young orphan (Jacob Perez) with ruthless members of a Mexican cartel on their heels. Bonded by mutual desperation, the duo knows a final showdown with their pursuers is looming. Neeson’s gritty resilience brings more gravitas and conviction to the surrogate father-son relationship than it deserves, although the predictable screenplay strings together cliches and contrivances without much regard for subtlety or surprise. (Rated PG-13, 108 minutes).

The Ultimate Playlist of Noise

Saluting the everyday sounds that we often take for granted, this high school tearjerker looks — and sounds — too familiar. Marcus (Keean Johnson) is an audio-obsessed suburban teenager whose seizure leads to a brain-tumor diagnosis. It’s not terminal, but requires surgery that will cause deafness. So Marcus defies his overprotective mother and embarks on a road trip with an impulsive singer (Madeline Brewer) to capture his favorite noises one last time, and to reconcile with a past tragedy. Rookie director Bennett Lasseter, son of Pixar founder John, keeps the pace agreeable, but the screenplay’s reliance on quirks and contrivances prevent the third-act emotional journey from ringing true. (Rated PG-13, 99 minutes).