Capsule reviews for Jan. 19

Bring Him to Me

Trudging through familiar crime thriller staples as deception, betrayal and dishonor among thieves, this gritty throwback’s intriguing narrative pieces never quite fit together. It chronicles a getaway driver (Barry Pepper) whose latest assignment is transporting a mysterious passenger (Jamie Costa) to his ruthless boss. There are hints of missing money stemming from a heist that leads to a vengeful pawn-shop owner (Sam Neill) among other complications. Australian director Luke Sparke (Occupation) injects some visual flair into the generic proceedings, yet as motives and loyalties are slowly revealed, the screenplay — with more talk than action — doesn’t supply much incentive for emotional investment in the inevitable final showdown. (Rated R, 96 minutes).

Cult Killer

Some disturbing twists never yield consistent suspense in this atmospheric thriller from prolific director Jon Keeyes (Code Name Banshee), which winds up more tedious than provocative. It begins in Ireland with the murder of a private investigator (Antonio Banderas), which leads his protégé (Alice Eve) to investigate. During a perilous quest for vengeance, she uncovers plenty of dark secrets involving a wealthy family and a small town not eager for the truth to be revealed. Despite some noir-infused visual flair, the nonlinear screenplay feels contrived and rarely sparks to life. The performances bring depth to the mediocre material, yet any deeper emotional connection remains elusive. (Rated R, 105 minutes).

Inside the Yellow Cocoon Shell

Thoughtfully examining some weighty existential themes, this deliberately paced Vietnamese drama rewards patience with an absorbing meditation on grief and faith that feels both specific and universal. It chronicles the spiritual journey of Thien (Le Phong Vu), who travels to his rural hometown with his 5-year-old nephew after the child survived a crash that killed his mother. Rookie director Thien An Pham uses a stylish and immersive visual approach to accentuate the contemplative moments, while the acting keeps the story grounded during its more abstruse stretches. Not for all tastes, it’s a sharply observed glimpse into how tragedy shapes our outlook on life and death. (Not rated, 179 minutes).

I.S.S.

While its broader sociopolitical commentary remains somewhat muddled, this science-fiction thriller from director Gabriela Cowperthwaite (Blackfish) effectively builds and maintains suspense within its claustrophobic confines. It’s set entirely aboard the International Space Station, where the happy arrival of astronauts Kira (Ariana DeBose) and Christian (John Gallagher Jr.) to the six-person crew is quickly tempered when an apparent catastrophic war breaks out on Earth. Suddenly, loyalties and motives shift among the three Americans and three Russians on board, with limited communication from back home. Is peaceful coexistence still possible? Strong performances and intriguing character dynamics stabilize the mildly provocative film through some labored final-act twists. (Rated R, 95 minutes).

Sunrise

Hinting at greater thematic depth and moral complexity, this slow-burning horror thriller from director Andrew Baird (One Way) instead relies on heavy-handed melodrama and gimmicky misdirection. It’s set in the rural Pacific Northwest, where secrets abound regarding an ex-cop (Alex Pettyfer) nursed back to health by a family of Asian immigrants after a violent attack. Their story becomes intertwined with urban legends about vampires and demons, and a xenophobic preacher (Guy Pearce) fostering racial division. As it funnels toward an inevitable showdown for vengeance, the ominous atmosphere doesn’t yield much in terms of frights or genuine suspense, leaving the setup more compelling than the payoff. (Rated R, 94 minutes).

Which Brings Me to You

Two lost souls drawn to one another through their shared romantic misfortunes is hardly new territory, and moviegoers won’t find the two lovebirds in this relationship drama from director Peter Hutchings (The Outcasts) as endearing as they find one another. Jane (Lucy Hale) and Will (Nat Wolff) first lock eyes at a wedding, then experience an awkward meet-cute. But as they recall failed relationships from their respective pasts, is there any hope for their shared future? Hale and Wolff keep the mood light with an agreeable chemistry, although the labored film lacks surprise while providing insufficient incentive for emotional investment in their circuitous courtship. (Not rated, 98 minutes).