Owen Gleiberman Chief Film CriticRobert Pattinson has a way of making scene-stealing entrances, sometimes halfway through a movie, like when he showed up in “The King,” wearing long orange-blond tresses and a twisted leer, as the Dauphin of France, a lewdly dissipated flyweight troublemaker. He does it again in “The Devil All the Time,” a drama of sin and salvation and crime and violence and a whole lot of other heavy Christian noir stuff, set in southern rural Ohio from 1957 to 1965.