Capsule reviews for April 1

Barbarians

Combining familiar elements into a fresh package, this tightly wound British thriller effectively builds and sustains tension within its narrative time and space constraints. A timid filmmaker (Iwan Rheon) and his outspoken artist wife (Catalina Sandino Moreno) are set to host their impulsive friend and realtor (Tom Cullen) for a housewarming party as the first residents of a new rural subdivision. But the dinner turns sour once secrets are revealed, and even darker when surprise guests arrive. The twists are mild and the pacing uneven in the screenplay by rookie director Charles Dorfman, yet the unsettling atmosphere and strong performances help to heighten the suspense. (Not rated, 89 minutes).

Better Nate Than Ever

Young theater nerds might connect with the far-fetched plight of the teenage protagonist in this innocuous wish-fulfillment fantasy. However, lacking subtlety and surprise, it sings a familiar tune. Nate (Rueby Wood) is devastated when he’s not cast as the lead in the school play. So while his parents plan a weekend getaway, he schemes with his best friend (Aria Brooks) to audition for a musical version of Lilo & Stitch — in New York, where chaos ensues. Rookie director Tim Federle, adapting his own book, brings wholesome charm to worthwhile intentions. Yet as Nate’s dreams become reality, the over-the-top plot mechanics turn more obnoxious than endearing. (Rated PG, 91 minutes).

Bull

Its relentless sequences of nonchalant brutality provoke a visceral response, yet this grim British crime thriller struggles to find the humanity amid its savagery. Exploring the link between violence and family legacies, it follows a ruthless mob enforcer (Neil Maskell) who returns to his hometown and vows revenge on members of the gang who betrayed him. His mission funnels toward an inevitable showdown with his father-in-law (David Hayman), testing his morality. The screenplay by director Paul Andrew Williams (London to Brighton) conveys a harrowing atmosphere of dread and despair, but every character is either unsympathetic or thinly sketched, reducing the emotional investment in the potent finale. (Rated R, 88 minutes).

The Devil You Know

While there’s a lived-in authenticity to the characters and setting, this well-intentioned drama about a close-knit family torn apart by a criminal act lacks the nuance and narrative dexterity to yield a deeper emotional resonance. Marcus (Omar Epps) is a recovering alcoholic determined to go straight after a stint in prison. Yet when one of his younger brothers (Will Catlett) is suspected in a murder and robbery case. That triggers a personal downward spiral for Marcus, as well as tests his family’s loyalty. The screenplay by director Charles Murray conveys a heartfelt cultural specificity yet stumbles when examining the moral complexities inherent in its central mystery. (Rated R, 116 minutes).

Every Last Secret

Any attempt by this tawdry romantic drama to explore post-traumatic stress or obsessive relationships with meaningful sincerity is compromised by far-fetched contrivances. It follows a hot-tempered ex-soldier (Mark Kassen) struggling with his mental health when he’s befriended by a wayward teenager (Sophie Turner) from an affluent New York family including a father (Ray Liotta) who isn’t as supportive of the relationship as he initially seems. The screenplay by director Matthew Coppola emphasizes the titular secrets, which are revealed with sledgehammer subtlety, at the expense of genuine character development or empathy. The result becomes progressively more ridiculous and feels as cold as its wintry urban setting. (Rated R, 92 minutes).

Gagarine

Although it’s rough around the edges, this bittersweet French coming-of-age drama provides a gritty and evocative look at gentrification and community. The story is told through the eyes of Youri (Alseni Bathily), a shy Parisian teenager who shares an outer-space fascination with his namesake, cosmonaut Yuri Gagarin. When his rundown housing project is condemned, Youri fights the relocation of its residents because it takes away all he’s ever known. The ambition sometimes surpasses the execution of a film that blends fantasy and reality to muddled effect. Yet as it builds to a stirring climax, the tender and heartfelt story resonates beyond geographical and cultural boundaries. (Not rated, 98 minutes).

Moonshot

Despite some narrative ambition and an engaging young cast, this science-fiction romantic comedy becomes lost in the cosmos. It’s set in 2049, when nerdy Walt (Cole Sprouse) is a motormouthed teenager whose dream is traveling to Mars on a space flight, but his application keeps being rejected. So he befriends aspiring scientist Sophie (Lana Condor) and hitches a ride on the next rocket. Could the two make an unlikely pair? However, the two leads lack romantic chemistry, and the film never feels fully committed to its futuristic premise. These feel like teens from 2022 who have traveled to the future instead of being born there. (Rated PG-13, 104 minutes).

The Rose Maker

Giving a fresh aroma to familiar themes, this slight but charming French horticulture comedy tells a gently rose-colored story about green thumbs. Indeed, the flowers take a starring role alongside versatile actress Catherine Frot (Maguerite), who shines as an artisanal rose farmer who inherits a family business now on the verge of bankruptcy. So she hires a ragtag group of ex-cons in a desperate move to outmaneuver her more corporatized competitors. The film’s lack of depth and context prevents a more robust emotional connection. However, it’s easy to develop a rooting interest in a breezy saga that takes “smelling the roses” to a new level. (Not rated, 95 minutes).

You Won’t Be Alone

Beneath the unsettling imagery and the horror-infused framework, this assured debut for director Goran Stolevski is an affecting 19th century drama about identity and companionship. In an isolated Macedonian village, a baby girl is kidnapped by an evil spirit who turns her into a witch. Years later, the woman (played by Noomi Rapace and others) tries to flee her oppression and inhabit human bodies to experience the life that was taken from her. The deliberate pace can be frustrating, but patient viewers are rewarded with a stylish and immersive — if excessively abstruse — variation on familiar genre themes that builds to a haunting and empowering climax. (Rated R, 109 minutes).