Capsule reviews for Feb. 20

The Dreadful

Emphasizing atmosphere over plot, this slow-burning psychological thriller is too emotionally muted to generate any meaningful tension as a coming-of-age empowerment saga. It’s a medieval British period piece infused by spiritual and supernatural tropes, in which a young woman (Sophie Turner) living off the grid with her domineering mother-in-law (Marcia Gay Harden), begins experiencing hallucinations involving a mysterious man (Kit Harington) who might be connected to her past, or might be cursed. The screenplay by director Natasha Kermani (Abraham’s Boys) evidently is inspired by gothic legends, although despite some haunting imagery, the thin story feels strained at feature length. The title isn’t far off. (Rated R, 94 minutes).

Kokuho

Kabuki appreciation or knowledge isn’t essential to admire the creativity of this epic Japanese drama exploring artistic legacies, cultural traditions, masculine identity, and the cost of achievement. It opens in 1964, when a gangster’s son (Ryo Yoshizawa) is sent to apprentice under a master (Ken Watanabe) in the performance art of kabuki. As he aspires to greatness, his friendship and rivalry with the master’s son (Ryusei Yokohama), both on and off stage, spans decades. As directed by Sang-il Lee (Rage), the film is deliberately paced yet visually striking and emotionally intense, bolstered by portrayals from the two leads that balance the intrinsic histrionics with layered authenticity. (Not rated, 174 minutes).

Last Ride

Admirably taking a different path to a familiar destination, this low-key coming-of-age thriller struggles to sustain its thin concept at feature length. It’s set in 1982 in wintry Scandinavia, against the backdrop of a rare celestial event, where three rebellious adolescent boys wind up stranded when their after-hours gondola ride stalls midway up the mountain. With the only adult incapacitated and the wintry weather unforgiving, their chances of rescue dwindle. Rather than going overboard in maximizing the queasy discomfort, the screenplay by director Cinque Lee (brother of Spike) evolves into a contemplative study of friendship, mortality, and childhood innocence that’s more slight than substantial. (Not rated, 97 minutes).

Midwinter Break

The two characters and their relationship issues are rather ordinary in this mature British drama, which might lend authenticity but it doesn’t exactly yield much compelling drama. We’re left with richly textured performances struggling to spark this examination of aging, devotion, and self-discovery that’s thoughtful yet forgettable. Gerry (Ciaran Hinds) and Stella (Lesley Manville) are a Scottish couple drifting apart, vacationing in Amsterdam to see if there’s any spark left in their marriage. As they unpack their emotional baggage, they’re left to wonder if they have a future together or apart, or why they were together at all — and moviegoers aren’t invested enough to care. (Rated PG-13, 90 minutes).

Redux Redux

A time-loop gimmick adds a layer of intrigue rather than frustration in this clever science-fiction thriller that keeps the pace lively to sustain its modest premise without turning overly convoluted. Irene (Michaela McManus) travels through the multiverse to avenge the murder of her daughter, confronting the killer (Jeremy Holm) in various ways across different dimensions. She becomes desensitized to the violence but remains hopeful that somehow her child is still alive. Then her perspective changes when Irene encounters a wayward teenager (Stella Marcus) who could be the assassin’s next target. The narrative mechanics are inventive, and there’s enough real-world grounding to offset the logical gaps. (Rated R, 109 minutes).

This Is Not a Test

If The Breakfast Club was set during a zombie apocalypse, and written with less wit and charm, it might resemble this uneven coming-of-age horror saga in which the ambition surpasses the execution. It’s set around Y2K, when a handful of small-town classmates retreat to their school gymnasium to plan their survival versus their ravenous adversaries. The film wants to amplify the frights and gory zombie kills while also acting as a more tender and heartfelt exploration of angst-ridden teens escaping their respective troubled pasts. The kinetic visual style certainly emphasizes the former, making any development of living characters seem tacked-on and awkward — perhaps like high school. (Rated R, 102 minutes).