While Lila & Eve is not supposed to be funny — indeed, the central topic is about as unfunny as one could possibly imagine — but nevertheless inspires huge laughs, albeit of the unintentional kind, thanks an idiotic screenplay and a supposedly "shocking" plot twist that even the most inattentive viewers should be able to figure out within the first fifteen minutes or so, tops.

A Hard Day has a breakneck pace that allows one to easily dismiss the more ridiculous, downright nonsensical aspects of its plot. Only occasionally will the eyes roll. For the most part, it works.

Unfortunately, The Stanford Prison Experiment is a dramatization, and no matter how much it may adhere to the well-documented specifics of Zimbardo’s work, it is a massive failure.

Post-Holocaust discourse frequently used the phrase “Never Again” as a slogan, specifically referring to persecution of the Jews but also denoting a prohibition against barbarism; the events under consideration in these films are dispiriting reminders that human progress in this area has been meager at best.

It is not merely a bad film. It is a collection of notes for a film that never quite evolved to the rough draft stage, much less cohered into a finished movie. That makes it more dispiriting than other notorious Woody Allen misfires.

The case itself ultimately proves less an involving puzzle for the audience than a lesson for Holmes in humility.

As Aaron’s star patient and best friend, LeBron James is kind of wonderful playing a version of himself who’s sensitive, analytical and strangely stingy. It’s an inspired casting choice.

Indian filmmaker Chaitanya Tamhane’s first feature is a masterpiece, one of the best films of the year.

It’s delightful and almost miraculous the way this movie manages to work as a comic heist picture on a huge scale, and with a comic science-fiction picture blended into it…while managing to cohere to the whole, you know, Marvel thing.

There are signs of clichéd filmmaking from the beginning in the flat close-ups and over-used score, but the performances carry Suicide Theory for a surprisingly long time.

The plot of Mad Women is ridiculous, unmotivated and "shocking," but that wouldn't be an issue at all if there had been some attempt at style, or mood, or a point of view.

The unique working relationship between Dirk Nowitzki and Holger Geschwindner is itself of sufficient interest to make the entire thing worthwhile, and implies that Geschwindner would make a compelling protagonist of his own film.

Despite that emotional distance, the film is carried by young actress Lea van Acken, forced to really emotionally deliver given the lack of camera tricks some actors use as a crutch.

Nothing will break your heart as much as watching this man, desperate to keep this woman in his life, waltzing around the room with a laptop in his arms while staring into her faraway eyes.

Williams and director Dito Montiel are in tune with a pervading sense of tenderness, as the movie distinctly ruminates on connection, not love.

What it does explore makes it a satisfying, lighthearted look at one man’s search for perceived vocal machismo.

What We Did On Our Holiday, written and directed by Andy Hamilton and Guy Jenkin, is replete with zingers, a quality not to be disdained in a family comedy of miscommunication.

Director Kim Farrant’s debut feature is beautifully shot and offers some powerful, well-acted moments from a strong cast, but it’s just relentlessly dreary.

A ridiculous fusion of "Paranormal Activity" and "Glee" that is so incredibly dumb that it is almost, but never quite, scary to behold.

As written by Sean Baker and Chris Bergoch and directed by Baker, it's assured and immensely likable, and truly independent in story and style.

The narrative outline of Self/less is a philosophical theme park, readymade for daring, complex filmmaking. And Singh and his writers never go on any of the rides.

It’s relentless in its depiction of the slapstick-infused shenanigans that will keep the little ones entranced in their seats.

Barnes & Heigl take their characters the distance provided them by the story, which is not very far.

Until tepid animal-attack flick Stung, I had never thought to wish for a horror movie protagonist to not be rewarded with a make-out session at film's end.

It must be noted that Cartel Land weaves together two stories, and the Mexican one is far more compelling and revealing than the American.

It’s just another solid Loach film, an affectionate realist portrait of individuals fighting against state and religious oppression. In this case the setting, as it was for his 2006 Cannes Film Festival Palme d’Or winner “The Wind That Shakes The Barley,” is Ireland.

Films don't have to feature likable people to be successful. Far from it. But a film has to let us know why we want to watch these people. Like its lead character, In Stereo does not want to do the necessary work.

Stray Dog largely succeeds because Granik's technique complements her subject. Both he and the film are modest in their goals and cherish the value of honesty.