We Are Your Friends is predictable, sometimes tacky, but the energy is unflagging, the eye candy plentiful and writer-director Max Joseph (making his feature debut after hosting MTV’s Catfish) brings sincerity and a skillfully modulated sweetness to the material.

No Escape is a pedestrian but modestly gripping nerve-jangler from writer-director John Erick Dowdle.

Filled with strong performances and numerous twists that keep the tension high, even if the plot gets tied up a tad too neatly.

While the two leads are appealing and display an undeniable chemistry, the narrative skimpiness makes their efforts for naught.

Co-scripted by a slumming Bret Easton Ellis, The Curse of Downers Grove is all over the place in tone, never managing to decide what kind of film it wants to be.

What we're looking at is, in essence, an artwork that looks at other art — a concept film about a conceptual art project. It suggests that a one-minute part can be the whole for one viewer or that, conversely, the whole is made up of an infinite amount of smaller parts that can each tell only a small part of the story.

From laughs to smarts to a credible interest in rehabilitation, lovers of love would do better to go see "Trainwreck" again.

Disparate influences percolate but never quite cohere in Andrew Droz Palermo’s first narrative feature One & Two, which while atmospheric and beautifully lensed ends up being a touch too elliptical for its own good.

First-timer Naar both fails to convince us of his subject's musical genius and gives the impression he's leaving out important details.

A highly enjoyable look at a career spent duping the art world.

A pungently immersive evocation of traveling on Chinese trains.

Being Evel is a warts-and-all portrayal of a man whose ambition and need to be in the spotlight was both a positive and a negative. His insatiable appetites – liquor, women, attention – were parts of his personality that fueled his downfall.

Featuring long stretches in which little is said or happens, the film never quite burrows into the viewer's skin in the way in which it was obviously intended.

While the races, which go back hundreds of years, last no more than 90 seconds each, Palio packs enough intrigue into its proceedings to practically fuel a miniseries.

A convincing and refreshingly indirect examination of handed-down emotional flaws.

Sinister 2 comes up a bit short on creative resources, although director Ciaran Foy probably gets enough right to entice those partial to the original.

After a while, you give up trying to make sense of the plot and sit there gaping at the car crashes, fight scenes, and shootings. The problem is that even the mayhem quickly becomes repetitive.

Muylaert does a deft job here of plotting her story and setting up her characters and their predicaments in ways that immediately invite reflection.

A genre mash that's mildly amusing until it can't think of anything else to do besides flop around in the deep end of conspicuous gore.

With its softball insights about midlife reinvention and its quasi-illuminating glances across the cultural and class divide, the movie takes its place, a la the similarly contrived The Visitor, on the spectrum of It’s Never Too Late character studies.

While wall-to-wall music is generally the bane and blight of contemporary documentaries, here Honigmann sensitively interpolates generous helpings of the orchestra's recordings to envelopingly persuasive effect.

An enjoyable entry into the swelling ranks of corrupt-the-youth comedies.

Rosenwald is not always successful in doing full justice to its rich subject matter, suffering from pacing problems and occasionally feeling drawn-out in its feature-length running time.... But it certainly deserves kudos for bringing long overdue attention to this unsung figure whose life was one big mitzvah.

Boredom has long since settled in by the time gunplay is involved.

The mental issues plaguing Hazel (Bella Thorne) aren't the only disabilities on offer in a film that sometimes heaps a little too much onto the fire, but Grau and his cast are sincere in their attempt to capture her struggle with empathy and dignity.

It lacks the wit and charm necessary to interest any but the most undemanding preteen viewers.

With an acute style marked by lengthy tracking shots and crisp natural cinematography from Laurent Desmet (Shall We Kiss?), Leonor manages to convey emotions through purely visual terms.

Don't watch the new documentary The Lost Key if you want to have good sex. Well, to be accurate, don't watch The Lost Key while you're actually having sex. A strict taboo on televisions in the bedroom is one of the tenets laid down in this film whose tagline promises "The Universal Secret of Jewish Sexuality Revealed."