Capsule reviews for May 1

Hokum

Aside from the creepy atmosphere and pervasive sense of dread, this horror saga from director Damian McCarthy (Oddity) relies too extensively on jump scares and genre tropes to sustain a deeper psychological terror. Ohm (Adam Scott) is a cynical American writer who retreats to a rural hotel in Ireland to grieve his late parents. But as he interacts with the eccentric locals and a bartender (Florence Ordesh) goes missing, Ohm hears rumors about a witch haunting the penthouse suite. Scott showcases his versatility in a change-of-pace role in this uneven if unsettling exploration of folklore, paranoia, and personal demons that’s intense yet only superficially frightening. (Rated R, 101 minutes).

The Last One for the Road

Combining mischievous energy with stylish throwback visuals, this meandering Italian comedy of lifelong friendships and arrested development compensates for its disjointed narrative momentum with bittersweet charm. The hard lessons of excessive alcohol consumption are mostly downplayed by director Francesco Sossai in favor of highlighting the perpetual partying misadventures of two middle-aged buddies (Sergio Romano and Pierpaolo Capovilla) who can’t seem to get their often childlike antics out of their system, such as a road trip with a student (Filippo Scotti) who finds their bromance both fascinating and slightly repulsive. Moviegoers might do the same, although the film captures an amusing and evocative nostalgic vibe. (Not rated, 101 minutes).

One Spoon of Chocolate

Wearing its 1970s blaxploitation and grindhouse influences on its visual sleeves, this ponderous thriller directed by The RZA (Cut Throat City) emphasizes throwback style over contemporary substance. Fresh out of prison, Randy (Shameik Moore) moves to the small town of, ahem, Karensville, to live with his cousin (R.J. Cyler) and seek a honest fresh start. It’s also a haven for racist thugs, triggering Randy’s violent tendencies during a vigilante quest for revenge. Despite some committed performances and inspired bookend confrontations, the satire is drowned out by languid pacing, thinly sketched characters, and a lack of subtlety and nuance. It winds up more tedious than provocative. (Rated R, 112 minutes).

Two Pianos

Eventually finding its rhythm as a portrait of a musician at a personal and professional crossroads, this uneven melodrama from French director Arnaud Desplechin (Esther Kahn) is bolstered by richly textured performances. It follows Mathias (Francois Civil), a one-time piano prodigy living in Japan who returns to his French hometown to perform a concert with his former mentor (Charlotte Rampling). However, the visit becomes complicated for Mathias when his ex-girlfriend (Nadia Tereszkiewicz) re-enters the picture. The film piles on other obstacles to a fresh start, too, yielding some compelling darker twists. Despite the thematic familiarity, it’s an impassioned look at the tortured soul of an artist. (Not rated, 115 minutes).