Andy Webster

Pushy, judgmental, tart-tongued and self-obsessed, the photographer at the heart of Otis Mass’s penetrating documentary, The Incomparable Rose Hartman, is, like her snapshots, a piece of work.

The story may be slight, but the performances and ambience resonate.

Mickey Keating’s horror outing Darling manages to conjure an effectively unsettling miasma.

Mr. Klein is well served by his actors, who exude conviction, charisma and palpable ardor.

A kaleidoscopic travelogue depicting demonstrations of faith worldwide.

Though Mr. Ryoo’s taste for heightened theatricality threatens his story’s credibility at times, there is no denying his skill with a large-scale action set piece.

Len and Company...never strains for profundity. Instead, it savors observational subtleties, especially in Mr. Ifans’s assured performance. For a baby-boomer-meets-millennial family drama, that’s plenty.

[A] short but bluntly powerful documentary.

It takes Sean Ellis’s World War II thriller Anthropoid a while to build steam, but once it does, hang on.

At length, the cheerleading...becomes a mildly taxing torrent. And Mr. Struzan, while an agreeable presence, is not an especially engrossing speaker. But then there is his artwork, an essential aid to the movies — and often their superior.

The movie, directed by Jaume Collet-Serra, who directed Mr. Neeson in the efficient airborne thriller “Non-Stop,” has two saving graces: a tight script and terrific acting.

The variety of physical perspectives lends a vivid you-are-there aspect to this record of the Zuccotti Park protest in New York in 2011.

Complete Unknown is a curious hybrid, teetering between a thriller and a romance only to land in a nebulous spot that is neither.

As a screenwriter, Ms. Morgan is nimble with glib conversation, and she is fearless at playing an often unlikable character. But this movie might only narrowly pass the Bechdel test, and mustering sympathy for Annette’s affluent, insular circle is difficult. The plot resolutions ultimately feel pat, and the conflicts, in retrospect, thin.

Besides a clever, blithely ribald script by Bradley Jackson, the movie benefits from a potent “Saturday Night Live”-empowered cast.

Its willful determination to be outré proves its undoing.

Chris Perkel’s reverent documentary Clive Davis: The Soundtrack of Our Lives is a valedictory for Mr. Davis.

Despite Mr. Yen’s impressive physical virtuosity, his stoic, often humorless presence tends to neutralize the emotional temperature.

Ms. Burdge — all quicksilver emotion and exposed nerve endings — is an endlessly watchable focal point. Her character’s vulnerability, uncertainty and growing self-acceptance lend the movie a necessary gravity.

Chavez (1927-1993), a founder of what became the United Farm Workers union, faced brutal odds, as this compelling documentary demonstrates.

With strong assists from the cinematographer Zachary Galler and her ex-husband, the composer Sondre Lerche, Ms. Fastvold, previously a director of music videos, has painted a resonant tableau of dysfunction.

Mr. Holsten, was a maker of the winning 2012 documentary “OC87,” a study of obsessive-compulsive disorder. His gift for portraiture shows only further refinement here.

In Antonio Banderas, Mr. Hudson has a winning de Sautuola of personal modesty, scientific integrity and paternal warmth.

Clearly, the architect and the filmmaker are tight, which does not entirely benefit Big Time.

Despite her script’s omissions...Ms. DuVall juggles the emotional dynamics with fluid editing and light comic touches. The skilled cast members must flesh out their characters, and the unselfconscious Ms. Lynskey, who invites the audience’s mockery and ends up with its sympathy, is the revelation.

We are largely left with the images, which take us far, if not far enough.

Mr. Irons handily hits the emotional beats, as does Mr. Patel.

For all its gloss, “Kundo” fails to resonate. You appreciate the execution, but the film is hindered by its lack of novelty and metaphorical weight.