Capsule reviews for Feb. 3

Baby Ruby

Childbirth turns into a nightmare for a first-time mother in this compelling domestic drama that starts as an exploration of postpartum depression before transitioning into a twisty thriller about paranoia and mental illness. For influencer Jo (Noemie Merlant), the joys of motherhood are tempered by her newborn daughter’s perpetual crying. Her husband (Kit Harington) seems supportive, but Jo’s darker thoughts trigger hallucinations and uncover dark secrets that suggest more sinister reasons for her hostility toward Ruby. Although its narrative logic leaves unanswered questions during the climax, the screenplay by rookie director Bess Wohl sprinkles humor amid the suspense, never taking its playful misdirection too seriously. (Not rated, 89 minutes).

The Civil Dead

Playfully subverting expectations, this low-budget ghost story is not a horror movie, nor is it especially scary. Rather, it’s a quirky examination of friendship and mortality involving two longtime friends — one of which happens to be dead. The living protagonist is Clay (Clay Tatum), a misanthropic photographer with a slacker disposition who encounters an old friend (Whitmer Thomas) on a nature shoot. The fact that he’s a ghost takes their relationship in new directions that prove strangely life-affirming. Even if it overextends a simple concept, the screenplay by Thomas and Tatum — who also directed — evolves into a darkly absurdist buddy comedy with offbeat charm. (Not rated, 104 minutes).

Erin’s Guide to Kissing Girls

Sugary sweet and aggressively formulaic, this coming-of-age Canadian romantic comedy feels like a missed opportunity in terms of cinematic representation. Considering its well-meaning, progressive message of inclusion and self-acceptance for teenagers, it lacks subtlety or surprise, the characters are thinly sketched, and the story is more concerned with checking off cliches than providing any substantive insight or originality. Erin (Elliot Stocking) is a social outsider at her middle school who’s drawn to an alluring newcomer (Rosali Annikie) eager to avoid the shallow cliques. But their blossoming relationship draws Erin away from her supportive best friend (Jesyca Gu). It’s aimed at indiscriminate members of the target demographic. (Not rated, 89 minutes).

Freedom’s Path

Heartfelt intentions alone can’t elevate this lumbering Civil War drama that’s intermittently powerful yet doesn’t provide much new insight into the psychological toll of conflict. The intimate story follows a young Union soldier (Gerran Howell) who deserts his unit and winds up forging a reluctant partnership with a runaway slave (R.J. Cyler) in the South seeking freedom for his family via the Underground Railroad. While their mutual trust is shaky, together they must evade a ruthless bounty hunter (Ewen Bremner). The performances are solid and the deliberately paced film overcomes its low-budget trappings, although the muddled and narrow historical perspective prevents a deeper emotional impact. (Not rated, 131 minutes).

Full Time

A compassionate salute to resilient and underappreciated single mothers that doubles as a white-knuckle thriller, this French character study is galvanized by a committed portrayal from Laure Calamy (Only the Animals). She plays Julie, the head chambermaid at a posh hotel in downtown Paris who live in the suburbs with her two children. Already juggling multiple responsibilities at home and on the job, a public transit strike puts her in desperation mode as she seeks a better career to save her family from financial ruin. Julie’s steely resolve is inspirational, but the empathetic screenplay by director Eric Gravel offers a gritty and even-handed portrait. (Not rated, 87 minutes).

Little Dixie

The compelling setup outpaces the predictable payoff in this throwback crime thriller from director John Swab (Candy Land) filled with pulpy violence and dishonor among thieves. It’s set in Oklahoma, where a former CIA operative nicknamed Doc (Frank Grillo) is responsible for navigating tricky political territory involving the corrupt governor (Eric Dane) and Mexican drug cartels. But when a cartel leader is executed in prison, his brother (Beau Knapp) seeks revenge at all costs, causing Doc’s loyalties to shift to protect his family. Some gritty visual flourishes and mild sociopolitical intrigue can’t overcome the assembly-line plotting. But at least our hero is always impeccably dressed. (Rated R, 103 minutes).

The Locksmith

A familiar combination of genre tropes and stock characters keeps this formulaic thriller from providing any meaningful intrigue or novelty. The premise comes off the assembly line, as Miller (Ryan Phillippe) is an ex-con with safecracking skills trying to repair his relationship with his estranged fiancée (Kate Bosworth) and young daughter. But while an old friend (Ving Rhames) offers him a fresh start, Miller’s quest for redemption finds his past catching up to him, prompting a violent fight for his future. The film’s collection of rogues and scoundrels might make Miller more sympathetic by comparison, but the progressively implausible twists squander any emotional investment. (Not rated, 92 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).

She Is Love

A pair of solid performances can’t offset the inconsequential nature of this intimate romantic drama, which might have worked better as a short or one-act play. It explores familiar themes of regret and reconciliation through the story of an American publisher (Haley Bennett) who retreats for a weekend at a secluded British hotel she’s visited before — unaware that it’s now operated by a deejay (Sam Riley) who happens to be her estranged ex-husband. Initial awkwardness leads to an opportunity to rekindle the sparks and pondering whether they’re better together or apart. The highly improvised film lacks much narrative momentum, feeling more slight than profound. (Not rated, 79 minutes).

Unexpected

Parenthood isn’t for everyone, but for the couple in this highly uneven domestic comedy, a disagreement over starting a family could break them apart. Bob (Joe Mazzello) and Amy (Anna Camp) move to a rural farmhouse in a last-ditch effort to ease their baby-related stress. Aside from befriending rabbits and ducks, a handyman (Neil Flynn) and his son’s pregnant girlfriend (Ryann Shane) offer a potential new path to happiness through adoption. Not as preachy as its faith-based undertones suggest, the innocuous film nevertheless suffers from pedantic narration and heavy-handed twists. It’s so overloaded with silly quirks and neuroses at the expense of genuine emotional depth. (Not rated, 106 minutes).