An agreeable comic drama

  Movies about psychologically damaged people can easily lead to dramatic overkill. Fantasy Life, which stars Amanda Peet as a 50ish actress whose career has evaporated, takes a different approach. Written and directed by Matthew Shear, who also plays a lead role, the movie takes place against a backdrop of ongoing crises that have become the soundtrack for the characters’ lives.

  Shear plays Sam, a schlub who, after losing his job as a paralegal, consults with his therapist (Judd Hirsch). Hirsch’s Fred prescribes drugs for OCD and also suggests that the unemployed Sam might babysit for his son’s three preteen daughters. 

   Shy and subject to panic attacks, Sam seems entirely unsuited for the job, which — of course — he takes.

  David (Alessandro Nivola), the girls’ father, works as a musician who’ll soon depart on an Australian tour as a fill-in bassist with a popular rock band. 

  The real story begins when Mom (Peet) arrives in Manhattan after having taken a mental health break on Martha’s Vineyard. Mired in depression about her vanishing career, Dianne decides that Sam should accompany her to Martha’s Vineyard for the summer. He’ll look after the kids, and she’ll continue with her inertia.

   Sam agrees. It doesn’t take long to see that he’s attracted to Dianne. Why not? Dianne’s attractive, both she and Sam are emotionally wounded, and Dianne’s marriage has hit a rough patch. It’s also clear that Dianne likes Sam, who makes no demands and praises her skills as an actress.  Less a matter of sexual attraction, the two create a comfort zone that both of them desperately need.

   Shear gently develops a relationship that raises eyebrows with Dianne’s parents (Bob Balaban and Jessica Harper). Hirsch is joined by Andrea Martin, who plays his wife and secretary.

  Aside from Sam, the characters seem affluent enough not to have to worry about money, and Shear’s eye-averting characterization turns him into a kind of walking human apology. 

  The story builds toward a climactic dinner scene. Dianne’s resentments erupt in comic fashion — or at least that seems to be the intent.

  Shear operates on a human scale, but Fantasy Life can seem a bit edgeless, and Sam’s mental issues --he's Jewish but antisemitic phrases pop intrusively into his head -- feel under-explored. Sam's inability to cope is made clear enough without what seems an  extraneous embellishment.

  Mostly, though, Fantasy Life passes easily without being uproariously funny or straining for satire. Call it agreeably light.

A romcom that tries to be trendy

Jason Sudeikis and Alison Brie star in Sleeping With Other People.

Predictability in romantic comedy isn't necessarily a bad thing. We've all experienced the pleasures that result from knowing that two characters are destined to be together -- even if they don't yet realize it.

But the success of such movies depends a lot on how we react to the characters who are working their way toward a shared destiny.

In the case of Sleeping With Other People, I was less-than-charmed by Jason Sudeikis and Alison Brie, who are cast as a couple of sex addicts dedicated to protecting themselves from emotional involvement.

Reminiscent of When Harry Met Sally -- a signature contemporary rom-com -- Sleeping With Other People tries (strains?) not to get too starry-eyed about love.

Sudeikis' Jake sleeps with just about any woman who crosses his path. Larson's Lainey clings to her "love" for a gynecologist played by Adam Scott.

The sex in doc's office is great, but he's engaged to someone else.

When Jake and Lainey, who had a brief fling in college, become friends as adults, they listen to each other's sexual tales while insisting that their relationship remain platonic.

At one point, Jake becomes involved with his boss, a woman of preternatural understanding played by Amanda Peet.

Jason Mantzoukas and Andrea Savage turn up as the family folks in Jake's bachelor life.

Sudeikis and Brie aren't helped by glib dialogue that sounds so written, you can almost hear the clatter of typewriter keys.

When Harry Met Sally probably remains best known for its feigned orgasm scene. Perhaps by way of competition, Sleeping With Other People features a scene in which Jake offers Lainey advice about how she can more effectively masturbate.

He conducts a demonstration with a bottle that I won't describe in any detail, but know that, at minimum, it's indicative of a movie that feels as if it wants to be both shockingly frank and romantic.

As in life, those may not be complementary ambitions.

He comes of age in a water park

I recall reading somewhere that a single caring adult can alter the whole trajectory of a kid's life, particularly if that adult shows up at a critical point in a young person's development.

I thought about that while watching The Way, Way Back, a comedy about a dejected, angry teen-ager who blossoms under the mentorship of the owner of a Massachusetts water park called Water Wizz.

Fourteen-year-old Duncan (Liam James) seems entirely uncomfortable in the world until he meets Owen (Sam Rockwell), an adult who senses the boy's loneliness and encourages him have a little fun.

For Duncan, loosening-up is no easy task. He's stuck on a month-long beach vacation with his divorced mother (Toni Collette) and the new man in her life (Steve Carell). To make matters even worse, Carell's Trent and Collette's Pam are in the early stages of their relationship and have yet to settle important territorial issues.

Just to add a little more insult to the already festering pile of Duncan's injuries, Trent's daugther (Zoe Levin) is a stuck-up, socially conscious teen who's totally condescending toward the dweebish Duncan -- at least when she's not entirely indifferent toward what she perceives as his worthless existence.

Directed and written by Nat Faxon and Jim Rash -- actors and screenwriters who won an Oscar for adapting The Descendants for the screen -- The Way, Way Back can't entirely overcome the familiarity of what amounts to yet another teen reclamation project. But the movie offers interesting wrinkles en route to a predictable -- if slightly attenuated -- finale.

To begin with, The Way, Way Back allows Carell to play to a jerk. Carell's Trent declares his jerkhood from the movie's outset, and does little to change our opinion of him as the story develops.

In Pam, Trent seems to have found a woman so desperate to hold onto a potentially stable relationship that she'll put up with a lot. Trent seems more than willing to take advantage of the situation. He shows far more interest in socializing with another couple (Rob Corddry and Amanda Peet) than in testing the waters of stepfatherhood -- or even in spending time with Pam.

Duncan's shot at self-affirmation arrives in the form of Rockwell's Owen, who becomes a kind of surrogate father for Owen. Not only does Owen offer Duncan a job at Water Wizz, he knows how to relate to a kid, in part because he still is one. In a way, the movie is Owen's coming-of-age story, too.

The cast is further bolstered by Allison Janney, who plays Trent's garrulous neighbor and Anna Sophia Robb, who appears as Janney's daughter, a girl who's smart enough to take an interest in the dejected Duncan, who suffers one indignity after another. An example: He's forced to explore the beachfront Massachusetts town where the story unfolds on a pink girls' bicycle he finds in Trent's garage.

Maya Rudloph appears as one of Sam's employees, and both Faxon and Rash play small roles as water-park workers.

To their credit, Faxon and Rash provide some shading, even for the dislikable Trent, and they belatedly give Collette a chance to dig more deeply into a character with an alarming tendency toward over-dependence.

For all of this, The Way, Way Back may leave you shrugging, perhaps because we've been down this road too many times, perhaps because the movie tends to be a bit bland and perhaps because the adult conflicts -- though sketchily presented -- are more interesting than Duncan's problems.

Let me backtrack a bit, though. It's convenient, but a little inaccurate to classify The Way, Way Back as a coming-of-age story. In truth, neither the movie's teens nor its adults fully mature.

Rather, they're brought to the brink of important life changes. Faxon and Rash keep the movie's ending upbeat, but allow us just enough room to speculate about whether these characters really will be able to sustain new and better versions of themselves.