Convincing in its depiction of late-20s romantic anxiety (if not of that age bracket's real estate realities), it is broadly appealing without bowing too deeply to formula.

Director Regimbal does an effective job of slowly ratcheting up the tension and handling the sometimes brutal violence in a relatively restrained manner. Josh Close’s screenplay is equally nuanced, concentrating as much on the characters’ psychological complexities as the gothic thriller storyline.

Annette Bening captivates as the self-delusionist, with Ed Harris ruggedly irresistible as the object of her fantasy.

This paean to youthful irresponsibility applies the right crude and rude 'tude to its bulging sack of gags to have the desired effect on its target audience.

If De Palma’s version was one part adolescent dream, three parts nightmare, with a sly streak of satire running through it, Peirce’s is a more earnest yet still engrossing take on the story that should connect with contemporary teens. At the very least it might send fledgling horror buffs scurrying to their Netflix queues to watch a vintage masterpiece of the genre.

The film's blend of pathos, broad comedy and the occasional musical number is a little lumpy. But with sectarian violence continuing to scar the globe, its light tone provides a refreshing response.

The Good Dinosaur emerges as a visually breathtaking work of computer-generated animation that is ultimately unable to compensate for a disappointingly derivative script.

A coming-of-middle-age comedy running on somewhat less than a full tank, Liberal Arts possesses enough comedic moments to approach crowd-pleasing status.

Jimenez makes a youthful film about sex, lies and literature that has the awkward charm of first love.

The proceedings have a certain haunted quality, thanks to the dramatic setting and the stark black-and-white cinematography by Steve Cosens that fully conveys its bleakness.

Matthew Akers' film is a personally revealing look at an artist most famous for maintaining stone-faced silence for three months.

Audiences willing to tune in to its blend of surreal fantasy, droll comedy and poignancy will be rewarded.

The primary appeal of Americano lies in witnessing the attempt of a famous progeny to forge his own creative path, as Demy's struggle with artistic inheritance resonates throughout unmoored Martin's voyage between past and present.

More of a character-etched mood piece than a tautly calibrated caper, Dead Man Down benefits from potent visuals and a compelling international cast that also includes lead Colin Farrell, Terrence Howard and Isabelle Huppert.

Modest but revealing documentary.

Falling somewhere between the X Games and Jackass on the Knievel Scale of Senseless Self-Endangerment, the crew known as Nitro Circus offers more physical and technical prowess than Johnny Knoxville's crew without stooping to anything so disciplined it might accidentally be called a sport.

The actors do what they can to supply the texture missing from the script. Vaughn and Wilson riff together with pleasing professionalism.

There are just enough laugh-out-loud moments here to excuse the lurches into shameless, tear-jerking sentimentality.

Avengers: Age of Ultron succeeds in the top priority of creating a worthy opponent for its superheroes and giving the latter a few new things to do, but this time the action scenes don't always measure up and some of the characters are left in a kind of dramatic no-man's-land.

Thanks to a sparkling ensemble headed by Francois Cluzet and Marion Cotillard, the familiar backdrop still provides ample opportunity for audience pleasing in Guillaume Canet's nicely observed dramatic comedy.

Jamie Linden's minor-key serio-comedy pulls us in eventually, delivering its share of poignant insights and melancholy reflections, even if it does all feel a tad familiar.

Charming at times but surprisingly cheap-feeling given the cast Heckerling has assembled.

Say what you will about the confused narrative, blatant borrowings and wildly over-the-top gory violence of Universal Soldier: Day of Reckoning -- at least you can see what the hell is going on.

The film mines both the relationship issues and the Upper East Side neighborhoods of Woody Allen's best work, but could use an added dose of the Woodster's jokes to spruce up a self-serious scenario that hits the right notes about half the time.

Very much a work of its time, the documentary offers unique perspectives for fans of both the saxophonist and the pioneering filmmaker, but is unlikely to attract a broad audience beyond those camps.

Promised Land presents its environmental concerns in a clear, upfront manner but hits some narrative and character bumps in the second half that weaken the impact of this fundamentally gentle, sympathetic work.

In the absence of sympathetic characters, a little humor would have gone a long way here.

Cogent documentary makes the persuasive argument for the role that U.S. military and corporate interests have played in the influx of immigration from Latin American countries.