Andy Webster

Fact and fiction blend nicely in Tracktown.

A kaleidoscopic travelogue depicting demonstrations of faith worldwide.

The graphic evidence here, in testimony on camera and in period photographs, is absolutely harrowing.

Throughout, the solitary Mr. Tower maintains an unflappable refinement, dedicated, a college friend says, to “looking for some utopian possibility of living, because that’s what kept the darkness away.”

Mr. Ruffin must carry the film, projecting interior activity and suggesting information where the script (by Mr. O’Shea) does not. That he imbues the film with a weight greater than its words is a testament to his skill as an actor.

This well-made, low-key drama, written by Mr. Gay and Tomàs Aragay, offers some insights into terminal illness.

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

This documentary, coupled with Ms. Aviv’s article, addresses unresolved issues of personal autonomy versus a patient’s inability to protect herself. It will haunt you.

Mr. Lal, making his feature directorial debut, clearly understands the camera and special effects. But working from a script by Anvita Dutt that reaches too far in too many directions, he is undone by his own ambition.

Hunter Adams’s Dig Two Graves is that rare chiller conjuring eeriness and dread without defaulting to abundant gore or flagrant nudity.

When the Rangers engage in “Transformers”-lite mayhem, an intriguing group portrait collapses into generic pyrotechnics.

While its premise and some of its effects may be B-movie grade, Atomica — like the best B movies — delivers an unexpectedly rewarding kick.

Nathan Morlando’s Mean Dreams may use a time-honored premise — young lovers on the lam (see: “Badlands”) — but it does so with such quiet, gently appealing assurance that it makes the template seem fresh again.

Some movies about making movies (Truffaut’s “Day for Night,” for one) are charming. The self-references here, while intriguing, approach a comic navel-gaze. Actor Martinez has a saving grace, however: Ms. Burdge.

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

A lively closing dance sequence, after an earnest, underwhelming climax, pays affectionate tribute to Bollywood production numbers. But you won’t find Mr. Chan’s customary bloopers over the closing credits.

[A] fascinating documentary.

Bad Kids of Crestview Academy traffics in exploitation movie flourishes.

It’s an eco-fable devoid of didactic overkill, delivered with energy, winking mischief, unobtrusive effects and a skilled cast.

If you’re a boy between, say, 8 and 12 and wired to the hilt on Coca-Cola, the shrill, exhausting “Gold” might be for you. But only if.

This is a movie that drops quotations from Faulkner and Einstein, but it rarely feels pedantic or platitudinous, thanks to the breezy, assured delivery of Mr. Khan.

A savvy exercise in inspirational feel-good cinema lightly seasoned with grit.

Iron Moon has a slowly mounting, but lingering, impact.

Their stories are compelling — and persuasive.

[A] fascinating and assured documentary.

Exuberant, busy and sometimes funny, DreamWorks Animation’s Trolls is determined to amuse.

Its willful determination to be outré proves its undoing.

Zhou Shen and Liu Lu’s bleak farce Mr. Donkey, adapted from their play, has a sentimental streak, and, as farce can, a tendency to overheat. But beneath its mild staginess and intermittent mania lies a cynical, piercing parable about China’s past and perhaps its present.