Capsule reviews for April 3

Almost Love

Another examination of the romantic travails of contemporary New Yorkers doesn’t produce much new material in this trite ensemble comedy. The interlocking stories include those of a painter (Scott Evans) and his boyfriend (Augustus Prew) with commitment issues simmering beneath the surface, their friend (Michelle Buteau) who is second-guessing her choice to date a homeless man, and a tutor (Zoe Chao) who might be secretly attracted to her teenage student. The screenplay by rookie director Mike Doyle manages some scattered big laughs when it breaks away from formula, but that’s not often. The characters aren’t engaging enough to care who breaks up or who stays together. (Not rated, 92 minutes).

Lazy Susan

The biggest joke in this broad redemption comedy is on moviegoers. The title character is aggressively obnoxious and off-putting, but because she’s cisgender, she’s simply misunderstood. Any lack of empathy therefore can be interpreted as insensitive. Susan (Sean Hayes) is an unemployed slacker who mooches off her neighbors and family — the latter of which might deserve such treatment. By the time she decides to turn her life around, she’s alienated almost everyone around her. The scenario plays like a failed sitcom pilot, differentiated by nonchalant acceptance of Susan’s sexuality. That’s nice, yet the film isn’t nearly funny or clever enough to be considered progressive. (Not rated, 91 minutes).

The Other Lamb

Style outweighs substance in this mildly unsettling cult drama that proves more tedious than provocative. At its center is a Christ-like figure known as the Shepherd (Michiel Huisman) who has brainwashed his 20 or so female disciples, divided into “wives” and “daughters.” As they follow him through the wilderness, an undercurrent of resentment simmers within the flock, led by teenage Selah (Raffey Cassidy), threaten to topple the compound. The English-language debut of Polish director Malgorzata Szumowska (Elles) features a muddled subtext about gender politics and belief systems, but in favoring atmosphere over plot, the film’s haunting imagery never translates into consistent suspense or emotional engagement. (Not rated, 97 minutes).