Capsule reviews for Sept. 26

All of You

Aside from its narrative gimmicks, this British romantic drama features more emotional depth and thematic complexity than you might expect as it charts a volatile relationship through past, present, and future. It begins with Simon (Brett Goldstein) and Laura (Imogen Poots) as longtime best friends refusing to acknowledge their spark. By the time they do, they’re both married to different people, and the resulting affair winds up testing their compatibility as potential soulmates. The screenplay by Goldstein and rookie director William Bridges offers some fresh twists on familiar themes, while the chemistry between the two leads helps prevent its concept from becoming sugary or sentimental. (Rated R, 98 minutes).

All the Devils Are Here

The setup is more compelling than the payoff in this tightly focused British crime thriller about grudges, betrayal, and dishonor among thieves. It’s set almost entirely inside of a secluded safehouse where Ronnie (Eddie Marsan) and his co-conspirators from a botched heist are ordered to hide out indefinitely awaiting further instructions. As they grow impatient, particularly a loose cannon (Sam Claflin), their level of paranoia and distrust toward one another intensifies. The performances add intrigue, but the atmospheric film struggles to elevate the stakes within the tight quarters, since it’s difficult to care which of these morally ambiguous characters survives or dies in the end. (Not rated, 87 minutes).

Dead of Winter

Despite the wintry setting, the chills are sporadic in this slow-burning thriller in which far-fetched twists undermine the efforts of director Brian Kirk (21 Bridges) to escalate the suspense. Barb (Emma Thompson) is traveling solo through snowy northern Minnesota, burdened by grief and seeking closure. When she witnesses an act of violence, she becomes entangled in a criminal plot involving an ex-doctor (Judy Greer) and her husband (Marc Menchaca), who have taken a young woman hostage with unclear motives. Thompson infuses her character with a winning balance of melancholy determination and eccentric charm, although the story around her simply becomes more ridiculous as it goes along. (Rated R, 97 minutes).

Eleanor the Great

Heavy-handed sentimentality overwhelms genuine pathos in this heartfelt directorial debut for actress Scarlett Johansson about grief, aging, memories, faith, and fractured family dynamics. Eleanor (June Squibb) is a quick-witted nonagenarian who relocates to New York from Florida following a tragedy. She’s not ready for a nursing home, as her overprotective daughter (Jessica Hecht) suggests. But she finds unexpected comfort in a support group for Holocaust survivors, where a teenage journalist (Erin Kellyman) asks about her story. Despite a far-fetched script and an overbearing piano score, Squibb (Nebraska) is delightful, as always. Yet the film unintentionally mimics her character — full of good intentions and difficult to believe. (Rated PG-13, 98 minutes).

Gabby’s Dollhouse: The Movie

Strictly for the very young fans of the Netflix series upon which it’s based, this wholesome and innocuous musical comedy is a chore for anyone outside of the kiddie demographic forced to accompany them. Mixing live action and animation, it follows Gabby (Laila Lockhart Kraner) as she sings and interacts with the miniature cats in her dollhouse. But while on a road trip with her grandmother (Gloria Estefan), Gabby’s feline friends are abducted by a villainous cat lady (Kristen Wiig). There are charming moments, of course. Yet if anything, this strained adventure shows why the relentlessly cute and upbeat source material works best in smaller doses. (Rated G, 98 minutes).