Following up "Humpday" with another low-rent charmer, Lynn Shelton moves from two- to three-character dynamics.

Imagine a Kiwi spaghetti western filtered through the offbeat sensibilities of early Sam Raimi or the Coen brothers and you've pretty much got the picture that is Good for Nothing.

A class-conscious Scandinavian crime film whose impact is dulled by some extraneous subplots, Daniél Espinosa's Easy Money nevertheless makes a solid vehicle for Joel Kinnaman.

In The Salt of Life, the actor-writer-director again plays his own alter ego, and gives us another deceptively small, vaguely autobiographical story with universal resonance, in more technically assured packaging.

You could point a camera just about anywhere at Comic-Con and record something weird, amazing, funny, stupid or all of the above.

The basic premise of this delightful comedy from Sweden is one of the most imaginative you'll ever see. It's all based on music -- raw, elemental and percussive -- out of which genuine laughs are wrung from beginning to end.

The movie is, by and large, smarter than the gross-out tactics that pass for hilarity in many mainstream adult comedies.

A feel-good raunch-com whose dirty-talk plot comes from a convincingly female perspective instead of feeling like cut-and-paste Apatow.

Intriguing but understated.

In the last 15 minutes of the film, he burns up some of the credibility he established by not pushing extreme situations too far earlier on.

Filmmaker-star Maiwenn's socially-minded film is packed with raw, visceral performances from an accomplished cast.

A deceptively slight film that strikes the right balance between realist family drama and earnestness.

It might not possess the robust charm of its 2009 predecessor, but Cloudy With a Chance of Meatballs 2 nevertheless gets an amusing boost from a genetically modified, marauding menagerie of Tacodiles, Watermelophants, Sasquashes and assorted other "Foodimals" that have overtaken the once-tranquil island of Swallow Falls.

As overcranked as it is -- the film is directed as if it were an action drama, with two or three times more cuts than necessary -- People Like Us has a persuasive emotional pull at its heart that's hard to deny.

A rare example of a grown-up story compellingly told from the perspective of children, The Playroom is a modest gem.

A natural, light and convincing rom com very similar to the original Hong Kong hit.

Energetic, humorous and not too cloying, as well as the first Hollywood film in many years to warn of global cooling rather than warming, this tuneful toon upgrades what has been a lackluster year for big studio animated fare.

The live performances in particular feature an energized sheen sometimes missing from Perry's music videos featuring the very same songs.

For sheer plotting and audience involvement, this is a notch above any of the other Avengers-feeding Marvel entries, the one that feels most like a real movie rather than a production line of ooh-and-ahh moments for fanboys.

The fascinating human portrait that emerges should draw appreciative if limited audiences.

A delightful and uplifting study of kids and families by Japanese director Hirokazu Kore-eda.

Beautifully put together in just about every way, it will be potent stuff on the small screen but deserves its moment in theaters.

Following the template of documentaries bent on scaring viewers silly, Oasis winds up with a segment pointing to glimmers of hope, one of which addresses the marketing challenge of convincing citizens that recycled waste water is safe for drinking.

A sustained balancing act between dry upper-crust cynicism and pent-up passions, Donald Rice's Cheerful Weather for the Wedding maintains its uneasy stasis long enough to frustrate some romance-hungry viewers while tantalizing those for whom withheld pleasure is the whole point.

Viewers will suspect from early on that things aren't as straightforward as they appear, and Clark's screenplay addresses those suspicions only to the extent it must to justify its characters' behavior.

It also expresses the anxiety and insecurity of comics conscious of the big issues in life they are expected either to avoid or make fun of in their work. Rogen and Goldberg take the latter approach here, in an immature but sometimes surprisingly upfront way one can interpret seriously. Or not.

Robot & Frank reminds quirk-hardened veterans that an odd premise and big heart don't have to add up to too-precious awards bait.

Portrait of Wally may be too narrowly focused for some viewers, but offers an engaging narrative and high-profile subject that should attract audiences at fests and in specialized theatrical bookings.