Capsule reviews for Oct. 14

Decision to Leave

Although its elliptical narrative approach can be frustrating, this stylish romantic melodrama from Korean filmmaker Park Chan-wook (The Handmaiden) doubles as a gripping murder mystery in which the procedural and emotional elements blend seamlessly. It chronicles an eccentric yet determined detective (Park Hae-il) investigating the death of a man who apparently fell from a mountain cliff. But a meeting with the dead man’s alluring wife (Tang Wei) creates some sparks while also prompting suspicions about foul play. As their relationship evolves over the years to come, the director modulates the film’s tone between grounded and over-the-top, providing some compelling twists to complement his striking visuals. (Not rated, 138 minutes).

The Loneliest Boy in the World

The title character is sad and pitiful in this lackluster British horror satire from director Martin Owen (Twist) that veers between campy and sincere without earning laughs or pathos. It centers on Oliver (Max Harwood), a mentally unstable teenager grieving the recent accidental death of his mother, who was impaled by a garden gnome. To avoid being taken back to the asylum, he digs up a corpse (Hero Fiennes Tiffin) to pose as his best friend, then a few more who wind up becoming a zombie surrogate family. The ensuing hijinks can’t salvage a thin premise or give Oliver’s redemption story the emotional grounding it needs. (Rated R, 90 minutes).

A Lot of Nothing

There’s a good short film or two buried within this uneven social thriller and suburban satire that becomes muddled with narrative tangents. The directorial debut of actor Mo McRae audaciously and provocatively confronts a contemporary climate of racial turmoil including stereotypes, triggers, knee-jerk activism, subconscious biases, and police brutality. It’s set in the aftermath of a shooting by a white cop (Justin Hartley) of an unarmed Black teenager. So the officer’s Black neighbors (Y’lan Noel and Cleopatra Coleman) take justice into their own hands with an impulsive plan that backfires. While the film doesn’t always have coherent answers, at least it’s asking the right questions. (Not rated, 104 minutes).

Piggy

Both deeply unsettling and darkly humorous, this low-budget Spanish revenge thriller sidesteps genre cliches in favor of a nuanced portrait of adolescent angst that also provides some clever chills. It follows Sara (Laura Galan), an overweight teenager who works at the family butcher shop to hide from the body-shaming taunts she’s endures daily. After a particularly harsh episode at the local swimming pool, her tormenters go missing just as a mysterious man (Richard Holmes) lurks in the woods with cloudy motives. Aside from its anti-bullying message, the screenplay by director Carlota Pereda, expanded from her short film, delivers some inventive (and gory) twists through misdirection. (Not rated, 90 minutes).

Rosaline

Adapting Shakespeare for a contemporary romantic comedy framework isn’t a new concept. But setting this lighthearted romp from director Karen Maine (Yes, God, Yes) in the Elizabethan era creates narrative constraints that detract from its more inspired elements. The sardonic title character (Kaitlyn Dever) is the ex-girlfriend of Romeo (Kyle Allen), who hails from a rival family. When Rosaline becomes stranded at sea with the charming Dario (Sean Teale), Romeo falls instead for her cousin, Juliet (Isabela Merced), prompting Rosaline to plan some sabotage. Despite some scattered laughs, the film struggles to mesh its subversive period satire about female empowerment with a formulaic coming-of-age love story. (Rated PG-13, 96 minutes).

Stars at Noon

Lacking much narrative urgency or romantic chemistry between its leads, this character-driven thriller marks a rare misfire for acclaimed filmmaker Claire Denis (High Life). It tracks Trish (Margaret Qualley), an American journalist stranded in Nicaragua and needing funds to get home. But when she strikes up a sizzling relationship with an enigmatic Englishman (Joe Alwyn), Trish soon realizes he might have ulterior motives that increase her desperation and test her resolve. Adapted from a Denis Johnson novel, the screenplay juggles elements of erotic melodrama and sociopolitical intrigue, but it’s hampered by unsympathetic characters in the middle. The deliberately paced result only occasionally sparks to life. (Rated R, 137 minutes).

Summit Fever

Some breathtaking alpine scenery can’t offset the avalanche of cliches and contrivances in this mountaineering thriller in which the visual splendor might play better on mute. Despite the inherent dangers and red flags all around him, a French daredevil (Michel Biel) insists on scaling the highest peaks in the French Alps with a team that includes a British novice (Freddie Thorp) and a brash American guide (Ryan Phillippe). The adrenaline rush quickly turns into a fight for survival amid the unforgiving conditions. While it conveys the harrowing dangers faced by climbers, the film never develops its characters to establish more than a superficial rooting interest. (Rated R, 115 minutes).