Wall Street Journal

Mr. Kurosawa, among our most contemporary-minded auteurs, has never been one to venture so far into the past, but here he brings it to vivid and complicated life.

Though I Want Your Sex is shamelessly silly and lacks the real-world concerns that made The Invite one of the best movies of the year so far, it does offer some wry insights.

The banality-clogged script plays like teen TV melodrama minus the teens. It wallows in angst and stress but has no psychological depth, sticking to bromides like “You’re special” and “Be yourself.” Being somber is a lot easier than being serious.

The miracle everyone pulls off is making a poisonous relationship dryly hilarious, even if every civilized exchange eventually becomes a figurative frying pan flying through the air.

War-torn romances are nothing new, but in Mr. Aris’s story it’s not the shattered buildings that constitute the real wreckage.

As written by Jon Hurwitz, Hayden Schlossberg, Kevin Burrows and Matt Mider, 72 Hours hangs everyone out to dry, even on the beaches of Miami, where hedonism, bikinis and gangsters are the unavoidable appointments of exhausted storytelling.

Thanks in major part to the lush, romantic, strings-laden musical score by Pino Donaggio (also a favorite of Mr. De Palma) and the madly expressive carnival swirl of spooky images captured by cinematographer Magnus Nordenhof Jønck, the movie has much the same mystique as the more abstract works of David Lynch. When you burrow this deep into the subconscious, logic is beside the point.

Wending its way through its haphazardly assembled narrative, the movie generates little in the way of feeling. As Otone, Ms. Ayase is a luminous presence and the best thing here, but like a lamp in a hospital room she can do only so much: The film that surrounds her remains a sterile creation.

The Dating Game is inspired by a Chinese situation and Chinese protagonists, but the underlying principles Ms. Du Feng explores are global—being genuine, sincere, singular and not trying to tailor one’s personality to meet some very dubious standards.

For the most part, the movie is a shapeless exercise in enjoyable lunacy, so a lot depends on whether the final act brings everything together in a satisfying way. It does so incompletely.