Fourteen generates important insights on time, mental illness, and relationships, proving, through a tableau of exquisitely staged moments, that friendships deepen over time no matter the circumstance.

Given his story’s curlicues and lack of overt judgment, Ree does not appear to be interested in a clear morality story about forgiveness or opposites coming together. However, The Painter and the Thief does leave room for a kind of redemption at its conclusion.

Multinational Alma (Sara Luna Zorić, excellent) is at the edge of womanhood, gazing into a fractured world that reflects — what else? — a fractured self. Displacement gives rise to the unhomely, the uncanny. Ena Sendijarević’s playful, delightful Take Me Somewhere Nice frames and articulates this spatial and psychological confusion, offering emotional distance against sharp material proximity.

What there is, however, is Nasibullina and she makes you root for Velya despite all the character’s faults

By seesawing between tired performances and hellish visuals, Vitthal never delivers on the rage his premise initially promises.

Even if this rom-com never completely coalesces, Showalter’s The Lovebirds does ultimately deliver a worthwhile conclusion

While it nods to everything from ‘The Twilight Zone’ to ‘Close Encounters of the Third Kind,’ Patterson’s movie is more a tribute to the romance of a breeze-whispered sprawling night and the shivery thrill of not knowing what nameless threats it hides.

As Odysseus returned home after his troubled journey to find yet more strife, Coogan and Brydon go back to their familiar schtick—long drives and touristy rambles punctuated by expensively minimalist dinners, all of it borne on a tide of joshing, snarky banter—only to discover more discomfort.

The Wrong Missy is one of those movies that takes a brain-dead sitcom scenario to the outer limits of what an audience is willing to tolerate.

This blistering film about addiction doesn’t judge the abusers, instead offering an intimate view into a world of hurting people lost in a maze of peer pressure, letting us see how a nice guy like Henry can turn to hard drugs.

Capone is little more than a collection of tangents and diversions that never coheres into any kind of compelling narrative. The only real propulsion the film sustains is the sheer force of Hardy’s performance as his character further loses control of his mind and bowels.

For its few flaws, Sweetness in the Belly hits plenty of the right notes, featuring a breadth of insight possible only when a filmmaker truly knows the place the story is set.

Fun acting, playful imagery, and a catalog of great ‘80s songs should be the winning recipe for a delightful musical. Alas, the Valley Girl remake doesn’t have the musical chops to separate itself from being compared to an overly long episode of “Glee” and definitely doesn’t bring anything new to the film world that will influence movies for years to come, as the original did four decades ago.

All in all, CRSHD is an ambitious film made with impressively few resources. Despite its writing pitfalls and shaggy aesthetic, this first feature shows off Cohn’s vision, wit, and resourcefulness.

Spaceship Earth is a highly watchable document from a curious cultural convergence in which avant-garde “Star Trek” utopianism met the glare of the mainstream.

Clumsy and erratic, though possessed of an undeniable bounding and puppy-like energy, How to Build a Girl is a star vehicle for Feldstein that, while it often does not do its star justice, also knows when to just stay out of her way.

Arkansas is, for long stretches, laid back. Despite its cartoonish performances, the tone is defiantly low key, with little of the vigor you expect from something inspired by Tarantino.

Genre buffs are probably more interested in witch’s kidnapping children than Ben’s family divorce. But the Pierce’s deliver on both fronts, so much so that you may never walk into a basement again.

With his arresting debut, Balagov seems to be on the cusp of greatness, all the more effective for the way he draws upon his personal history to craft unforgettable images.

This Netflix film works overtime trying to be flashy without bothering to create characters worth rooting for, and its long run time won’t do bored parents any favors.

It is, in essence, a two-hour curtain call, a celebration of not only their music but their friendship, and a chance for the duo to have the last word on their legacy.

Barker takes his initially enthralling documentary and dilutes the story with this new feature, creating melodramatic lightness without an affectingly heavy touch due to the tepid tone and wheezing tempo. In short, it snoozes.

Bolstered by revelatory performances from its leads, and a timely thematic foundation appropriate to its place and moment, Twin Flower (Italian: “Fiore Gemello”) tells a story that’s as nuanced as it is profound.

Its leads deliver, individually and especially together, and Teems somehow manages to sound a note of reserved hope at the picture’s conclusion, without sacrificing the inherent nihilism of the genre.

The charisma from the leads and the ridiculousness of the story do mask a lot of the shortcomings.

In a world where the clouds are puffy, the script is fluffy and the funk is funky, it’s easy to stomach all the glitter a second time around. If you do decide to rent this via VOD, now that DreamWorks Animation has broken the theatrical window, you will likely be in harmony with kaleidoscopic visuals, not to mention a bunch of greatest hits the whole family can enjoy.

There’s little egregiously terrible about The Lost Husband, but a lot of the film is less than memorable. The relaxed, casual vibe is often at odds with the amount of sorrow that has seemingly crippled these characters. Yet, it’s the type of film that you already know the ending before the first scene is over.