Capsule reviews for Sept. 18

Alone

While it could have resonated more deeply as a study of trust and paranoia, this taut psychological thriller delivers some solid cat-and-mouse suspense. It follows a young widow (Jules Willcox) moving out of town to escape her past when she’s caught up in a road-rage incident with an unstable motorist (Marc Menchaca) whose initial kindness masks more sinister motives. Despite her resilient attempts to flee, he has something more violent in mind for their next confrontation on a rural country road. The tightly wound film lacks the emotional depth to be more provocative, although it offers some fresh twists along its familiar narrative path. (Not rated, 98 minutes).

H is for Happiness

As the title suggests, this whimsical Australian coming-of-age comedy is infused with an abundance of good cheer, unfortunately to an overwhelming extent. Candice (Daisy Axom) is a precocious and relentlessly optimistic preteen with an annoying knack for color coordination. That spills over to her attempts to help a troubled classmate (Wesley Patten) find his way. Yet her positivity also conceals tragic memories for which she seeks closure. With her bright red hair and freckles, Candice’s upbeat demeanor is charming for a while. Maybe little girls can relate, but eventually, the film’s overreliance on cute eccentricities feels twee and calculated while lacking any meaningful emotional grounding. (Not rated, 98 minutes).

Lost Girls and Love Hotels

Trying to be atmospheric and provocative, this deliberately paced, bilingual noir drama instead comes off as dull and tedious. It’s set in Tokyo, where Margaret (Alexandra Daddario) teaches English to flight attendants during the day, and spends her nights mingling with shady characters on the streets. She finds a confidant in a fellow American expatriate (Carice van Houten), but becomes especially drawn to a yakuza (Takehiro Hira) whose involvement in the city’s criminal underworld leads to danger. Some striking visuals can’t offset the emotional gap between the characters and the audience. As a journey of redemption and self-discovery, the result is neither sexy nor suspenseful. (Rated R, 97 minutes).

The Nest

Terrific performances elevate this multilayered domestic drama from director Sean Durkin (Martha Marcy May Marlene), which doubles as a cautionary lesson in personal finance. Rory (Jude Law) is a 1980s British commodities broker and aggressive social climber married to an American horse trainer (Carrie Coon). His idea to relocate their family from New York to London is a desperate clandestine attempt to reclaim his wheeler-dealer glory days, but soon Rory’s unstable world begins crumbling around him. Durkin’s richly textured screenplay is too elliptical in spots, although the fascinating character dynamics — with culture and geography playing roles — and subtle twists keep the tension bubbling to the surface. (Rated R, 107 minutes).

No Escape

Obnoxious millennials obsessed with social media while lacking common sense might deserve some comeuppance, but there’s not much intrigue in this derivative horror exercise as generic as its title. Cole (Keegan Allen) is a viral star whose latest milestone leads him to venture to Moscow with his naïve friends for some edgy new content — ostensibly an escape room set in an abandoned Bolshevik prison. What could go wrong? The film generates some mild tension from the puzzles inside the room, although the screenplay by director Will Wernick provides little incentive for emotional investment in the escape itself. A third-act twist only unspools more clichés. (Rated R, 88 minutes).

The Racer

Although it struggles to reach the finish line, this uneven cycling saga offers a fresh perspective and modest behind-the-scenes insight into the world’s most famous race. It’s a fictional story set against a true-life backdrop in 1998, when the Tour de France opened in Ireland amid a widespread doping scandal. Dom (Louis Talpe) is a longtime “support rider” in the race, meaning he sets the pace and yields the glory to a teammate. But when his future in the sport becomes uncertain, he questions whether the sacrifices he’s made were worth it. As melodramatic contrivances threaten to steer it off course, this character study remains compelling. (Not rated, 95 minutes).

Red Shoes and the Seven Dwarfs

It’s difficult to tell whether this latest animated fairy-tale mashup is trying to poke fun at Shrek or simply copying it. Either way, this lackluster Korean production lacks both the visual and narrative zip to appeal to anyone outside of the most indiscriminate youngsters. The ogre lookalikes are the title characters — transformed princes from Fairytale Island who need footwear belonging to Snow White (voiced by Chloe Grace Moretz) to break their spell. Their efforts to fell the evil queen (Gina Gershon) also involve the wizard Merlin (Sam Claflin). From its mixed messages about self-esteem to stale pop-culture references, it’s definitely not the fairest of all. (Rated PG, 92 minutes).

The Secrets We Keep

Behind its idyllic 1950s small-town facade, the setting for this character-driven thriller simmers with sociopolitical tension. It’s too bad the suspsense can’t match the Hitchcockian ambitions of this melodramatic Death and the Maiden ripoff. Maja (Noomi Rapace) is a Romanian immigrant living with an American doctor (Chris Messina) and their small child. Her residual trauma stemming from World War II is triggered by Thomas (Joel Kinnaman), a new neighbor with a familiar and haunting face, prompting the suspicious Maya to seek retribution without proof. Despite some committed performances, the screenplay by director Yuval Adler (The Operative) examines postwar obsession and paranoia with only half-hearted sincerity. (Rated PG-13, 97 minutes).

Softie

If you think the American political system is broken, the Kenyans have it worse, judging from this provocative and insightful documentary. It chronicles the political aspirations of Boniface “Softie” Mwangi, a photojournalist and activist who launches a good-faith campaign for a regional government office. His incumbent opponent, however, is a brazenly corrupt showman who will spare no expense to win the election, even if that means threatening Softie and his family with violence. As Softie gains momentum prior to the election, difficult decisions loom. The showdown between courageous hero and ruthless villain is compelling, but the details and underlying context make the film resonate. (Not rated, 96 minutes).