Less outrageous or provocative than puzzling, it will appeal to a very specific sort of irony-hungry moviegoer and leave most others shrugging.

In their wonderful documentary Other Music, Puloma Basu and Rob Hatch-Miller come to both celebrate a place and lament its passing.

Sensitive performances only go so far toward generating sparks in the slow-moving film, which never becomes the crime-and-punishment nail-biter it might've been.

No matter how tongue-in-cheek, and toothless, the film's sardonic view of mental health care feels unfortunately timed given our mass anxiety-inducing current circumstances. The truth is, we could all use some good therapy right about now; Bad Therapy, on the other hand, is not indicated.

Taken on its own terms, it's a solid if hardly revolutionary thriller that bodes well for the filmmaker's future in genre films.

There's just too little wit here amid all the cutesy misunderstandings and farcical mayhem to make Love Wedding Repeat anything but tedious froth.

Its structure is so meager it's downright skeletal.

The pic's claims grow wilder by the minute, and its power to persuade is undercut by narration scripted like a YouTube conspiracy film. For this skeptical but totally willing-to-believe viewer, Fifth Kind doesn't move the needle even a smidge.

Even though the movie poses questions worth pondering, it's self-inoculated against doing the pondering. With all the long, loving glances at the orderly pastel interiors of Jean's home, and the constant nudging reassurance of the score, the narrative has been too padded against sharp angles to register a seismic jolt.

Although episodic in structure, the movie holds together beautifully thanks in large part to Tiefenbach's compelling performance. Looking and sounding like a young Woody Allen, the actor superbly conveys Hanan's initial fear and insecurities and then his gradually increasing confidence as he begins to live up to the demands of his new profession.

As Jaws and all the best predecessors have shown (John Carpenter’s The Thing also seems like a major reference), you really need to care about the crew before they’re eaten, and Hardiman doesn’t draw strong enough characters for us to latch onto.

Director Martha Stephens' atmospheric period piece is in many ways its own planet: The world it conjures is a woman's world — not a world that women created or rule, but one where their longings, dissatisfactions and sorrows are center stage, and most of the story's men and boys look on from the periphery, when they're not lashing out.

The film offers enough low-key goofy pleasures to provide an amusing diversion.

It feels too much like we’ve been here, done this already.

An appealing cast and slick period production values make this an entertaining enough retro bloodbath.

Making a film that feels two days long is not the same thing as making 48 Hrs.

Malgorzata’s command of her medium makes the film a pleasure to watch.

Despite its talented, overqualified cast, Lazy Susan simply feels like a mistake.

It never manages to overcome its air of overfamiliarity, straining mightily but giving off little but flop sweat.

It’s rare to see an ensemble film where the cast feels like it has no weak links, but Doyle has assembled a group of fine actors with buoyant onscreen chemistry across the board, and this grounds the movie from the start.

Dolphin Reef benefits greatly from the gorgeous cinematography and canny editing typical of Disney nature docs as well as Portman's soothingly lighthearted, bedtime story-style narration that turns serious at just the right times.

The film has a solid feel for family dynamics and local color.

It is a superior genre piece at heart, but elevated by its high-caliber leads, Imogen Poots and Jesse Eisenberg, plus a script rich in political and cultural resonance.

Power and Marks clearly have a facility with dialogue, and even though many of their plot points may represent standard dramedy material, the two elevate scene after scene with imaginative insults and witty banter among the characters.

Though Marceau's artistic ideals are central to the film, Resistance happily avoids novelty, making its hero one credible human among many in a wartime tale that, though largely familiar in its feel, dramatizes a question that has become urgent for many in recent years: How does one best resist hatred — by fighting its proponents, or rushing to assist its targets?

Impossible Monsters at times gets too baroque for its own good, straining for a Ken Russell-like hallucinatory style that it doesn't fully succeed in pulling off. But it's an admirably ambitious and accomplished debut for its tyro filmmaker who should easily move on to bigger things.

A hard-hitting psychological drama about an actress who surreptitiously monitors her former assailant and his current prospective victim, Tape benefits from its well-executed thriller mechanics and terrific performances by its three leads.

For those who have never heard of these cases, this short and very to-the-point exposé can be an eye-opening experience, especially as it is set in country we tend to idealize for its wholesomeness.