Mark Jenkins

The heroine of Double Lover suffers chronic abdominal pain, but an exceptionally revealing trip to the gynecologist indicates no physical cause. Perhaps it's all in her head, so Chloe (Marine Vacth) is referred to a psychiatrist. That medical judgment turns out to be faulty, but viewers will sympathize with the doctor who made it. It might seem that the entire movie is in Chloe's head.

If Beatrix Potter were reborn as dean of students at Lake District U., the latest version of Peter Rabbit would represent her worst nightmare. This frat-bunny comedy is a part-CGI Animal House that revels in theft, gluttony, vandalism, and absurdly destructive pranks. All that's missing is the scene where Flopsy, Mopsy, and Cotton-Tail filch the wrong kind of mushrooms from Mr. McGregor's garden and hop into a bad trip.

What is love?

That query proves even more complicated than usual in Before We Vanish, Japanese director Kiyoshi Kurosawa's engaging if messy, and overstuffed, 20th feature. It's a riff on Invasion of the Body Snatchers that meanders from action to satire to romantic affirmation.

The chain-smoking, beer-swilling protagonist of A Ciambra is a one-man crime wave. When his father and older brother are arrested, Pio takes responsibility for supporting his entire Romani-Italian clan by stealing and hustling. Pio is observant, audacious, and quick-witted, yet has a few weaknesses: He can't read, and is terrified of elevators and trains. Also, he's only 14.

The first half hour of The Final Year is as pointlessly hectic as one of those action movies that's all incidents and no plot. But gradually documentarian Greg Barker's look at Barack Obama's foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign.

When you're in love, "you just feel good, like you're wrapped in a big coat," says a character in Lover for a Day. Yet there are no big-coat moments in veteran director Philippe Garrel's latest examination of French erotic discontent.

In the most hopeful story recounted by In the Land of Pomegranates, a mother takes her young son from the Gaza Strip to an Israeli hospital for repair of a potentially fatal heart blockage. But no other hearts are mended in Hava Kohav Beller's documentary, whose centerpiece is an encounter session between 20-something Israelis and Palestinians in Germany, the historically fraught land of the director's birth.

Poignant and complex if occasionally frustrating, Fatih Akin's In the Fade is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri's pals are fellow inmates, and the ceremony is performed in a prison classroom.

Jared Moshe, the writer and director of The Ballad of Lefty Brown, is a fan of classic Westerns and he's made a movie that should please fellow aficionados. He offers one twist on the formula, but the plot, setting, and widescreen images are all as standard-issue as a Colt 45.

A murder mystery narrated by a toxically self-aware teenager, Sam Munson's 2010 novel The November Criminals is the kind of book that attracts smart filmmakers and serious actors — that then, all too often, gets diluted into a bland disappointment like November Criminals.

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