Capsule reviews for Nov. 28

The Secret Agent

Skillfully subverting genre tropes and navigating tonal shifts, this captivating period thriller from Brazilian director Kleber Mendonca Filho (Bacurau), is driven by a richly textured portrayal from Wagner Moura (“Narcos”). He plays a 1970s tech expert who flees a troubled past for his hometown of Recife amid Carnival week and a backdrop of sociopolitical volatility. His attempts to reunite with his estranged son wind up entangling him in violence and corruption, as secrets are revealed. While the labyrinthine narrative meanders, the film unspools some visceral and propulsive thrills while maintaining a sense of intrigue surrounding its central mystery, aided by its offbeat ambitions and stylistic flourishes. (Rated R, 158 minutes).

Stone Creek Killer

“Things are about to get weird around here,” theorizes a conflicted small-town cop in this atmospheric thriller, which proves him partially right before becoming derailed by a series of progressively far-fetched twists. In rural Minnesota, a grizzled police chief (Clayne Crawford) and his new deputy (Vincent Washington) reluctantly enlist the help of a psychic (Lyndon Smith) to piece together clues to a series of grisly killings, only to discover that the lines between suspects and victims become blurry. The film is enhanced by its setting, but a nuanced portrayal by Crawford (The Channel) isn’t enough to overcome a derivative screenplay that struggles to generate consistent tension. (Not rated, 96 minutes).

The Tale of Silyan

After starting as a study of the stork population in a Macedonian village, this bittersweet documentary from director Tamara Kotevska (Honeyland) evolves into a moving portrait of companionship and fulfillment between humans and birds. The subject is Nikola, an aging farmer under intense financial strain in the only trade he’s ever known. The struggles threaten his family as Nikola discovers an unlikely bond with an injured stork at a landfill, which brings them both renewed purpose and perspective. Infused with cultural folklore, the film is clearly staged in spots to enhance the emotional impact, although its charming story of blue-collar resilience resonates across geographic boundaries. (Rated PG, 80 minutes).

The Thing with Feathers

A fully committed performance by Benedict Cumberbatch adds depth to this otherwise muddled examination of grief and guilt that offers an awkward mix of fantasy, horror, and introspective psychological drama. Cumberbatch plays a London artist and father who struggles to process his wife’s sudden death, which strains his relationship with his two young sons. As he retreats to his drawings, he begins experiencing hallucinations involving a giant crow who taunts him and sends him into a mental spiral. The narrative debut for director Dylan Southern crafts some haunting imagery and tries to offer a glimmer of hope amid the heartbreak. However, it’s not consistently suspenseful. (Rated R, 98 minutes).

Tinsel Town

Adhering to a familiar seasonal template, this holiday crowd-pleaser feels like a Hallmark refugee — the cinematic equivalent of an unwrapped gift that’s returned the next day and forgotten the day after that. It’s set in December in a quaint British town, where a brash and obnoxious Hollywood action hero (Keifer Sutherland) finds out he’s mistakenly agreed to star in a pantomime production of Cinderella. After run-ins with the director (Rebel Wilson) and quirky cast, he embraces the opportunity and sees the virtue in rehabilitating his image, both professionally and personally. Sporadically amusing and charming, the cutesy film lacks the subtlety or surprise to become more substantial. (Not rated, 93 minutes).

Young King

A stellar breakthrough performance by actor Vince Washington galvanizes this quietly powerful portrait of veterans with PTSD, which offsets its narrative contrivances with heartfelt authenticity. Washington plays Diondre, who shows signs of mental illness upon returning from Iraq, yet is denied benefits for treatment. As his outbursts of anger and violence threaten his closest friends and family, his psychological wounds begin to consume him via repressed rage and unresolved hostility. This is familiar territory, of course, although the thoughtful screenplay by rookie director Bryant Terrell Griffin provides a fresh perspective on the film’s heartfelt message of compassion toward afflicted military heroes who deserve better. (Not rated, 94 minutes).