“About Cherry” strives to display the porn industry—or at least its San Francisco chapter—in a more positive light than in “Hardcore,” “Boogie Nights” and other outwardly leering, inwardly moralistic takes on the subject. The directorial debut of author Stephen Elliott, who worked as a stripper in his twenties, and co-written by porn star Lorelei Lee, the film is refreshingly devoid of rape, drug-induced degradation and other staples of the genre. It wants

Bachelorette is a total mess and I mean that as a compliment. It’s in the hysterical, drug-laced vein of “Pineapple Express,” in which none-too-bright, self-obsessed characters not only dig themselves deeper into a hole, but are too intoxicated to notice their own descent. Advertised as a darker take on the girls-can-be-gross-too humor genre "Bachelorette," which was directed and adapted by Leslye Headland from her 2007 play

The most nagging flaw of "Liberal Arts," Josh Radnor’s self-consciously precious second film, comes to full fruition in a late scene, showcasing the hilariously tart-tongued Allison Janney (who also nearly saved "Juno" from its bout of cutesiness). Jesse (Radnor), an ill-at-ease thirty-five year-old college admissions director, has been straining to reconcile his conflicting feelings for an unusually refined, virginal college sophomore

Louis Malle’s “My Dinner with Andre,” released in 1981, documented a two-hour conversation between the courtly, garrulous actor-stage director Andre Gregory and the diminutive, nasally defiant actor-playwright Wallace Shawn. If you were one of the many dazzled by it, you will undoubtedly want “Before and After Dinner,” the new documentary on Andre Gregory conceived and directed by his wife, Cindy Kleine, to see the

The moment of truth in Sarah Polley’s "Take This Waltz" occurs when two of its principals are buck naked. Showering in the locker room after a dopey swimming class, Margot (Michelle Williams), a married woman secretly tempted to stray, and her sister-in-law Geraldine (Sarah Silverman), more happily married but a recovering alcoholic, pontificate on the inevitability of domestic boredom. “New things become old,”

There’s a great movie lurking somewhere within the nagging clichés of “Death of a Superhero.” Adapted by Anthony McCarten from his 2008 novel, the film should be applauded for its strikingly morbid animation sequences, a winning lead performance from young up-and-comer Thomas Brodie-Sangster and an effectively solemn turn from the normally hilarious Irish comedienne Sharon Horgan. But with director Ian Fitzgibbon at the helm

Jack (Mark Duplass) is shell-shocked and angry from the recent death of his brother. His compassionate best friend Iris (Emily Blunt), whom he secretly pines for, sends him to her father’s secluded log cabin, to regain composure. When he arrives, he’s surprised to find Iris’s sister Hannah (Rosemarie DeWitt) already occupying the cabin. She’s in recovery mode, too, a lesbian still hurting from a bad breakup; unable to sleep, they bond over whi-