by Charles Bramesco
Mumblecore purveyor Nathan Silver has mastered the inarticulateness of everyday speech, but this 75-minute trifle about a thirtysomething working through marital problems is awfully thin gruel.
As one prong in a larger “Dishonesty Project,” Yael Melamede’s documentary looks into the human capacity for lying, and the consequences of white lies and downright whoppers.
John Maclean’s tragicomic neo-Western plays like the Coen brothers’ True Grit with a dash of Wes Anderson quirk, following a 16-year-old Scot as he journeys to American to reunite with his lost love.
A script hampered by quasi-theological lectures and a reluctance to deliver the goods spoils this Jean-Claude Van Damme vehicle, despite the can’t-miss premise of Van Damme going after kidney thieves.
Set in the South shortly after the Civil War, Kane Senes’ thin drama concerns a former Confederate soldier whose fragile psyche cracks when he gets involved in a conflict between his relatives and their poaching neighbors.
Despite a wealth of talented women in front of and behind the camera, Amy Berg and Nicole Holofcener’s adaptation of Laura Lippman’s mystery novel follows predictable crime-movie beats in its story of small-town kidnappings.
Clichés abound in Daniel Duran’s debut feature about a troubled urban teenager and DJ who moves to small-town North Dakota, but the mournful wartime context lends the film a distinct, surprising tone.
In maybe the ultimate example of mild summer counter-programming, this genial real-estate comedy stars Morgan Freeman and Diane Keaton as a married couple trying to sell their Brooklyn walk-up and move someplace new.
Arnold Schwarzenegger and Abigail Breslin star in a zombie film that brushes against the perceived boundaries of both the zombie genre and its star.
Dolph Lundgren stars in and co-writes a throwback action film with a smidgen of social consciousness and a cast stacked with colorful co-stars.
Helen Hunt’s second directorial effort finds her playing an uptight New Yorker changed by California.
After serving 12 years for killing a man in a drunken slap fight, a former boxer (Sean Bean) tries to get his life back together in Rustam Branaman’s lifeless, vaguely faith-based drama.
As a financial wiz who radically changes his life after a Wall Street debacle, co-writer/star Nick Kroll makes an awkward shift from ubiquitous comedy star to dreary dramatic actor.
With the planet nearing a “mass extinction moment,” Guy Reid’s tedious documentary doesn’t call for actionable change, but floats the idea that we should be chill and meditate on it.
Set in the one-day-you’re-in/the-next-day-you’re-out” world of high fashion, Sean Garrity’s ludicrous romantic comedy stars Portia Doubleday as a would-be fashionista who poses as a man in order to get a job in the industry.
Sean Penn narrates this alarmist documentary, which attempts to link the chemical industry with a number of terrible afflictions, but doesn’t have the evidence to back it up.
The Romanian New Wave goes semi-mainstream with Nae Caranfil’s disappointing English-language film about disillusioned communists who commit a robbery to embarrass the state, then suffer the consequences.
The uneasy aftermath of a clash between two Maori tribes erupts into total war in this New Zealand thriller, which could be mistaken for a 1970s Hong Kong action movie.
The Virgin Suicides meets an arch teen comedy by way of The Crucible in this deliberately over-the-top drama about adolescent girls who drop off social media and form a secretive clique in the woods.