While the film feels slightly padded and might have been sharper in a tight, hourlong format, it's impossible not to be seduced by the joie de vivre of its subjects.

This computer animated work has strikingly designed characters, and some good isolated sequences, but the script’s un bordel (French for shambolic mess).

Neither an inspirational faith-based film nor an attack on Christian dogma, Will Bakke’s comedy/drama Believe Me plays like a religious variation of "Risky Business" minus the sex.

Renner appears completely immersed in his role and when the clouds of doubt accumulate and the man becomes a professional pariah, it's a painful thing to see.

Laughs are virtually non-existent.

Striking nary an unfamiliar note, The Song sluggishly lurches towards its predictable conclusion — spoiler alert, Jed sees the error of his ways — but it does offer some pleasures along the way.

This film’s thin charms lie not in its authenticity but in its zippy energy, good-looking cast and mild sprinkling of action.

Cutter Hodierne's Fishing Without Nets is a tense drama with well-drawn characters and only as much action as its story requires.

Best viewed as a glossy advertisement for the venerable military academy that is its focus, Field of Lost Shoes doesn’t exactly score points for objectivity.

Good People follows a familiar thriller template without managing to be particularly compelling.

The overwrought, uncontrolled sci-fi thriller Automata is a disappointing example of a film which lacks the imagination to follow persuasively through on its engaging initial premise.

Fortunately, the two stars always brighten the proceedings.

Strickland and Fenton bring an extra layer of visual invention, smartly expanding on the show's pre-existing video elements and adding their own bespoke cinematic touches.

The last sequence takes the esoterism one step farther, in a beautiful ending that seems to link European wealth to those long-ago events in Latin America.

A sharply made, perfectly cast and unfailingly absorbing melodrama. But, like the director's adaptation of another publishing phenomenon, The Girl With the Dragon Tattoo, three years ago, it leaves you with a quietly lingering feeling of: “Is that all there is?”

Actor and first-time feature director Matt Rabinowitz’s intense focus on a fragile father-son relationship makes for unexceptional developments in The Frontier, an insubstantial low-budget ensembler.

Red Army is a slick, witty, fast-moving blend of sports story and history lesson.

This low-key indie drama has enough well observed, insightful moments to compensate for its occasional lapses into forced quirkiness.

A Life in Dirty Movies is still a sweet and illuminating journey into cult cinema history, but it would have been more honest and psychologically rich if it had shown us the money shot.

Life’s a Breeze is breezy, lighthearted fun.

Keep On Keepin' On is both tender and joyous, a moving account of the mutual nourishment of artistic mentorship and the rewards of accentuating the positive in whatever life throws at you.

Henry & Me is a heartwarming tale that should prove irresistible to young baseball fans.

Although ultimately far too muddled in its concept and execution to be anything more than a curiosity, The Scribbler does manage the dubious feat of being one of the strangest films you’re likely to see this year.

And to be fair, Cusack doesn’t phone it in. He gives the part his all, displaying his usual expert deadpan comic timing while delivering the weak quips in Carmine Gaeta and Luke Davies’ screenplay. But it’s disheartening nonetheless to see him working so hard to enliven such inferior material.

Distinctly and proudly old-fashioned in its retro, film noir vibe, A Walk Among the Tombstones is notable for its dark atmospherics and strong performance by Liam Neeson.

Though it drags in spots and doesn’t convince on all fronts, Bliss is nonetheless a worthy minor addition to a canon of homefront films.

The historical overview they provide is insightful and lucid, yet their polished production intermittently lapses into dry chronology while they bury the lead.

Offering a silly conceit that requires either finesse on screen or a cast whose magnetism overrides disbelief, Mind has neither.