Sleeping With Other People is a brittle, bawdy, frequently funny romcom that might be too smart for its own good.

A perfectly chosen cast sells this unhurried comedy, which flows unconventionally but is still, by a long stretch, the most mainstream-friendly picture Bujalski has made.

There’s a breezy spirit and an agreeable touch of tenderness to the movie that makes it hard not to like, even if it never accumulates much substance.

Pleasantly involving and sometimes annoying throughout most of its running time, this is also a vibrant, thoughtful piece about modern life in a very particular gentrified neighborhood.

The film has nothing if not great vitality and an active creative spirit, but it has all been channeled here in a way that comes off as erratic and sometimes ill-judged.

Classily and classically crafted in the best sense by director John Crowley and screenwriter Nick Hornby, this superbly acted romantic drama is set in the early 1950s and provides the feeling of being lifted into a different world altogether, so transporting is the film’s sense of time and place and social mores.

performances from Saoirse Ronan and Cynthia Nixon keep Stockholm, Pennsylvania intense and absorbing, but Nicole Beckwith's initial impulse to tell her confinement story as a stage play feels as if it might have been a sounder choice.

Awash with ripe, voluptuous summertime imagery and brimming with aborning adolescent female sexuality, The Summer of Sangaile is an appealingly simple, poetically conceived teen coming-of-age tale.

Despite its sharp visuals and evocative sense of place, the unevenly acted film never quite builds enough atmospheric dread to distract from its characters' somewhat implausible behavior.

The film's smart craftsmanship is ultimately less noteworthy than its humanizing, prejudice-challenging immersion into the lives of people who inhabit L.A.'s low-end drug and sex industry.

Shari Springer Berman and Robert Pulcini's Ten Thousand Saints offers both a premise and a setting ripe for nostalgic sentimentality but indulges in little of it.

Rather than further expanding those seemingly limitless SpongeBob horizons, the live action/CG stuff never satisfyingly jibes with the traditional nautical nonsense down below.

Goold's work never feels stagey; a smart and varied visual sense opens up even settings as basic as a jail's visiting room. But what happens in that room isn't as convincing as might be expected from these actors.

Swanberg and her co-writer Megan Mercier do an assured job of coaxing the minor-key humor and conflict gently from the naturalistic situations.

A Walk in the Woods serves as a terrific showcase for two exceptionally durable stars.

Craig Zobel effectively sets all its surface parts in motion but, crucially, doesn’t sufficiently develop that turbulent undercurrents of tension and intrigue that are called for in the hothouse circumstances.

What Happened, Miss Simone does its job well, proving especially treasurable for its wealth of rare archive film footage and audio material that captures Simone’s fierce talent, fiery temperament and fragile mental health. But it is unlikely to be ranked up there with the best music-themed bio-docs.

Benefitting from likeable, good-natured subjects and the peculiar pastimes with which they fill their cooped-up hours, the doc certainly gets us interested in and rooting for the Angulo boys.

Erotic thrillers are a time-tested genre, but this effort, scripted by Wesley Strick, is neither erotic nor thrilling.

With filmmaking roots in horror and other genre fare, Taylor invokes some interesting cinematic choices but sometimes seems to be uneasily straddling the line between serious, intense drama and outright exploitation.

While there are implicit references to the horrors of the Soviet and post-Soviet state and to the 20th century in general, this monstrously overflowing film seems to aim even higher.

Ponderously paced and mostly flat in its dramatic effect, this wooden period piece is slow going indeed.

Alien Outpost doesn't even manage to do justice to its thematic conceits, failing to weave in its current day parallels in sufficiently thoughtful fashion.

Above and Beyond pays well-deserved homage to these men who helped create the Israeli Air Force and ensured the survival of the burgeoning nation. It's a wonder that it took nearly seven decades for the story to be recounted in feature documentary form.

Director Stephen Kijak, who previously explored far more compelling musical territory with Scott Walker: 30 Century Man, has delivered a behind-the-scenes portrait that should please the band's diehard fans but offers little of substance to the uninitiated.

While Disney’s Tinker Bell and the Legend of the NeverBeast might not ever be accused of risk-taking, the new adventure does feel a shade or two darker than previous installments.

The filmmakers' reluctance to over-explain character motivations has mostly kept their films out of the mainstream and will continue to do so here, but there's no shortage of impressions that resonate. And the performances of both Reynolds and Mendelsohn are fortified with deep feeling, working in admirable tandem.

A smart-ass charmer, merciless tearjerker and sincere celebration of teenage creativity.