Capsule reviews for Jan. 27

Blood

Caught between an earnest drama about fractured families and a campy cannibalism saga, this thriller from director Brad Anderson (The Machinist) is boosted by solid performances before becoming narratively anemic. Recovered addict Jess (Michelle Monaghan) is a nurse who moves into a rural farmhouse with her two kids while locked in a bitter custody battle with her ex-husband (Skeet Ulrich). But when an incident involving a dried-up lake turns the family dog into a vicious predator, the thirst for blood is passed along to young Owen (Finlay Wojtak-Hissong). It’s more amusing than frightening, perhaps unintentionally so, and lacks the focus to generate much emotional investment. (Not rated, 108 minutes).

Cairo Conspiracy

Weaving true-life sociopolitical complexities into a more generic narrative framework, this uneven thriller from Egyptian filmmaker Tarik Saleh (The Nile Hilton Incident) benefits from an evocative depiction of its volatile backdrop. It follows Adam (Tawfeek Barhom), a young Muslim scholar from a small fishing village given the opportunity to study at a prestigious university known as a center for power among the Sunni Islam. But after the mysterious death of a religious leader, Adam meets a spy (Fares Fares) and becomes caught in a conflict with major spiritual and political ramifications. The film remains compelling even as the twists turn more conventional in the second half. (Not rated, 126 minutes).

Close

Powerfully intimate and quietly perceptive, this coming-of-age drama from director Lukas Dhont (Girl) explores the ways in which teenagers process delicate emotions with tenderness and sincerity. It chronicles the extremely tight-knit friendship between 13-year-olds Leo (Eden Dambrine) and Remi (Gustav de Waele), whose bond is threatened by bullying from classmates suspicious about their sexuality. As they drift apart under pressure, uncertain of their true feelings, a tragedy triggers a downward spiral of guilt and regret involving Remi’s mother (Emilie Dequenne). Expressive portrayals by both acting newcomers bring a sense of authenticity and heartfelt relatability to this compassionate portrait of adolescent angst that avoids cheap sentimentality. (Rated PG-13, 104 minutes).

Kompromat

The contemporary sociopolitical climate adds a layer of unease to this taut and harrowing espionage thriller that manages to withstand some second-half contrivances. Apparently based on a true story, it’s set in Siberia, where a French diplomat (Gilles Lellouche) runs a cultural organization only to wind up as a scapegoat for political fallout between France and Russia. Framed for a crime and sent to a prison with perilous conditions and nobody to trust, his hope for survival requires desperate measures. Lellouche brings emotional depth to his role, while director Jerome Salle (Zulu) injects urgency into a somewhat formulaic story that strains credibility yet remains suspenseful. (Not rated, 127 minutes).

Life Upside Down

A form of pandemic fatigue applies to movies, too, like this contemplative drama about relationships and psychological hurdles among artistic types during the onset of COVID-19 lockdowns. The characters include an artist (Bob Odenkirk) whose gallery is on the verge of bankruptcy, the professor (Radha Mitchell) with whom he’s having an affair, and a writer (Danny Huston) facing his own marital strain. The latest cinematic attempt — shot on smartphones, of course — to rehash the sudden pivot in everyone’s lives during March 2020 at least has a strong cast to bolster its intertwining stories of isolation and self-discovery, although it’s ultimately short on fresh perspectives or genuine insight. (Not rated, 92 minutes).

The Man in the Basement

Intriguing character dynamics offset the logical gaps in this French psychological thriller, in which a clash over tenants’ rights is supplemented by an undercurrent of relevant ideological division. To make some extra cash, Jewish parents Simon (Jeremie Renier) and Helene (Berenice Bejo) sell their basement cellar to an ex-professor (Francois Cluzet), unaware that he plans to live there, or worse, that he’s a Holocaust-denying conspiracy theorist still harboring a grudge. The resulting dispute gets tied up in legal red tape, causing the couple to confront their beliefs and heritage. While not as provocative as intended given the subject matter, the actors add depth and conviction. (Not rated, 114 minutes).

Maybe I Do

An incredibly esteemed cast squeezes everything it can from a sitcom-level script in this lackluster ensemble romantic comedy about aging, love, and commitment. When a young couple (Luke Bracey and Emma Roberts) is considering marriage, they make the mistake of arranging a dinner for their respective parents — played by Richard Gere, Susan Sarandon, Diane Keaton, and William H. Macy — whose eccentricities, wandering eyes, and questionable advice threaten their relationship before it reaches the altar. The feature directorial debut of veteran television executive Michael Jacobs struggles to shake its stagebound roots. Although it’s funny and poignant in spurts, its attempt to be more profound falls flat. (Rated PG-13, 95 minutes).

One Fine Morning

A deeply felt performance by Lea Seydoux (No Time to Die) propels this thoughtful drama from versatile director Mia Hansen-Love (Bergman Island). Seydoux plays Sandra, a single mother in Paris committed to caring for her ex-professor father (Pascal Greggory) through health issues that require constant supervision. Her spirits are buoyed after an innocent encounter with a married friend (Melvil Poupaud) blossoms into an affair. But leaving one relationship for another, in essence, comes with consequences. Hansen-Love’s richly textured screenplay explores familiar themes of love and loss through a fresh lens, while Seydoux balances strength and vulnerability to add emotional weight to Sandra’s universal struggle for happiness. (Rated R, 112 minutes).

The Silent Forest

Some evocative visual touches highlight this atmospheric German mystery, which combines traditional horror elements with an introspective character-driven drama about guilt and redemption. Anja Grimm (Henriette Confurius) is a forestry student lured into the woods where her father disappeared when she was a child. Her work there forces her to confront emotional trauma, but it also prompts some suspicions from locals who don’t want her digging — literally — into their business. There’s a murder among the modest twists that provide some intrigue in a deliberately paced film from rookie director Saralisa Volm that rewards patience and uses an ominous setting to deliver more than just cheap thrills. (Not rated, 98 minutes).