Knock Off

Frank Masi/20th Century Fox

Let's Be Cops (2014)

The buddy cop subgenre has proven such a bankable formula in Hollywood — yet again by the success of “Ride Along” earlier this year — that some might now consider it a bona fide genre. The trope often combines varying percentages of thriller and comedy to mixed results. Some entries like “Lethal Weapon” skew more toward the thriller, while ones like “White Chicks” obviously yield to the comedy. Casting choices usually give a good indication which way it will turn out: If one of the partners belongs in the K-9 unit, you can be sure of the lowered stakes.

Besides the fact that neither of the main characters is an actual police officer, “Let’s Be Cops” feels unorthodox for defying these formulaic expectations the subgenre has been steadily creating through trial and error since its inception in the 1980s. The film actually has incredibly high stakes, like a much sillier “48 Hrs.” rather than a more thrilling “21 Jump Street.” If it’s any indication, Damon Wayans, Jr. plays the straight man to Jake Johnson’s instigator — complete with a reference to the Glover-Gibson dynamic.

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Troubles Every Day

Sarah Manvel/Critic's Notebook

An outsider to the Irish film industry would be surprised at the depth and breadth of work available at the 26th Galway Film Fleadh. Held over five days and six nights every July in the largest city on Ireland’s west coast, the Fleadh (pronounced “flah,” Irish Gaelic for festival) brings together new and old talent in one place to act as a doorway to the global scene. Since its winning short automatically becomes eligible for Oscar consideration, the festival is able to punch considerably above its apparent weight.

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Twister of Fate

Warner Brothers Pictures

Into the Storm (2014)

“Into the Storm” imagines a tornado outbreak — including an EF-5 on the enhanced Fujita scale — wreaking havoc on fictional Silverton, Okla, in Tornado Alley. A team of storm chasers on a fruitless documentary project (among them Matt Walsh, Sarah Wayne Callies and Arlen Escarpeta) arrives fashionably in a Titus tank, while the vice principal of a local high school (Richard Armitage) attempts to locate a missing son (Jeremy Sumpter) and his classmate (Alycia Debnam-Carey).

We’ll leave film’s scientific legitimacy to professional meteorologists to assess, although the one played by Ms. Wayne Callies herein certainly casts doubts on the plausibility of this parade of cyclones. Since the film eschews the 3-D gimmick de rigueur for all Hollywood tentpoles, the only thing that separates “Into the Storm” from “Twister” made 18 years ago is its found-footage trope, utilized most memorably by “The Blair Witch Project,” “Paranormal Activity” and “Cloverfield.” As such, the entire endeavor is a total, um, disaster.

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Taxi to the Dark Side

Element Pictures Distribution

Glassland (2014)

Kitchen-sink dramas can be very difficult to like. Small movies about unhappy lives can unfortunately sometimes be overwhelmed by their own metaphors. Quite often, directors are also overwhelmed by their own material and don’t know how to let the film breathe. Luckily in “Glassland,” Gerard Barrett makes none of those mistakes. Even better, he has brought in a wonderful cast that is more than capable of making these dim lights shine.

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The Life Desertic

2014 Sundance Film Festival

Young Ones (2014)

Some time in the near future, arty teenager Jerome (Kodi Smit-McPhee) lives on a remote farm with his sister Mary (Elle Fanning) and their father Ernest (Michael Shannon). Water is a resource more precious than gold. It hardly ever rains anymore; and the land has always been — in Jerome’s lifetime — a desert. Ernest is a good man, willing to help out the locals and share what little he has, but who is unafraid to kill marauding strangers who threaten his family. The closest threat, of course, comes from Mary’s boyfriend Flem (Nicholas Hoult).

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The Strayed Story


The 100-Year-Old Man Who Climbed Out the Window and Disappeared (2014)

When looking back of a century’s worth of escapades in a work of art, the temptation is irresistible to put your hero at the center of the action. But a lot of that depends on who your hero is. When you have a lovable, good-hearted dunce like Forrest Gump at the center, you have an international smash hit and the inability to look at a box of chocolates in the same way ever again. But when you have a murdering pyromaniac at the center of your comedy, then unfortunately much, much more than a spoonful of sugar is needed to send that medicine down.

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A Dread & Two Noughts

Roadside Attractions

The Skeleton Twins (2014)

Bill Hader and Kristen Wiig's comic rapport is the foundation of "The Skeleton Twins," a bittersweet comedy which lets the two of them bounce off each other for an amiable 90 minutes without actually breaking a sweat — or any new ground, for that matter.

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Amazon Prime

Eduardo Moreno/Open Road Films

The Green Inferno (2014)

Eli Roth's latest think piece on international relations is a gleefully nasty culture clash between youthful Western arrogance and a simple tribal lifestyle, somewhere down a crazy river. In "The Green Inferno" a group of handsome white-bread students — naive dim bulbs to a man and led by an out-and-out creep — set about protesting against rain-forest deforestation in the Amazon, and end up on the receiving end of a cannibal holocaust. At first it's all high-fives and banter and chaining themselves to bulldozers; but then later there's running and screaming and explosive diarrhea.

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Spies Like Them

Kerry Brown/Roadside Attractions

A Most Wanted Man (2014)

Anton Corbijn and John le Carré apparently got on like a house on fire producing "A Most Wanted Man," but make an odd-couple pairing. The best le Carré adaptations — assuming you buy that films can capture the author's Olympian monotony of civil-service espionage in the first place — rely on the innate thrill of a great actor in a bad suit retrieving a folder from a cabinet and returning to the desk. Mr. Corbijn likes to film the rites of tradesmen doing their thing, although for the most part seems keener on the poses they strike while doing so than the dirt under their fingernails. Between them, these two not-quite opposing instincts build a reasonable facsimile of the author's tale, and then pretty much admire each other to a standstill.

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Fully Steamed Ahead


Snowpiercer (2014)

Anyone coming to "Snowpiercer" as a fan of Jacques Lob and Jean-Marc Rochette's graphic novels may be in for an attack of sugar rush. Bong Joon-ho's film — less an adaptation than a parallel-universe tribute act — strips out the dour Holocaust-haunted imagery and discursive chat of the original in favor of broad sci-fi pastiche, night-vision axe fights and Tilda Swinton's comedy teeth.

The result loses something in translation, but gains a few thousand watts in the caboose. Question much (or any) of the logic behind the last of humankind riding a vast train around an uninhabitable ice-bound Earth, and it crumbles in your hands. Instead the film would prefer you to grasp its grand parable, restated at regular intervals: that political revolution requires the seizing of the proverbial engine car from the gilded layabouts in first class, something Curtis (Chris Evans) and his fellow peasants from the slum carriages at the back of the train set about doing.

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