Ben Kenigsberg

Barbaro and Boneta’s charm offensive never amounts to much, though. The eagerness this film has to please could never match how pleased Feingold clearly is to be making a movie like it.

Despite flashes of droll humor, the film builds up an undercurrent of suspense, with the prospect of violence always near. Kolirin (the movie version of “The Band’s Visit”) orchestrates the proceedings with confidence and significant subtlety, never letting political diagnoses overwhelm character.

If The Subtle Art of Not Giving a #@%! helps people, its deficiencies as a movie don’t matter much.

“Turn Every Page” is one step away from turning into a Herzogian monument to obsession or plunging into crazed psychodrama. Instead, it is merely a great profile, filled with wit, affection and detailed stories of how the books came to be.

So what does this long-gestating, obviously affectionate, obviously politically simpatico account of Nancy Pelosi’s career, including her rise to and tenures as the first female House speaker, have to offer? For a start, it provides an unusual opportunity to watch Pelosi negotiate legislation and rally votes.

The emerging film is not simply a persuasive augmentation of Katz’s argument, but also a disturbing portrait of how very human impulses — passivity, rationalization, social pressures — can shape the writing of history.

The Swimmers tells this story as an inspirational (but rarely sugarcoated) crowd-pleaser. Within those terms, it hits its marks.

The thesis of the movie — that art can be restorative and help overcome cyclical, systemic failures — might seem trite. But Morton’s devotion to his painting and his loved ones makes it difficult not to be moved.

Weather seems to exert an only intermittent influence in this insipid holiday love story, directed by Gabriela Tagliavini and set in the run-up to Christmas — at least in theory.

Even at 63 minutes, A Couple is not an easy sit. It took me three viewings before I was able to become absorbed in it — to settle into the rhythms of Boutefeu’s performance, to find the monologues less monotonous, to admire the beauty of the garden that Wiseman uses so calmingly to counterpoint the anger of Sophia’s words.

By the end of Good Night Oppy, Opportunity and Spirit have become no less lovable as characters than R2-D2 or Wall-E. It’s tough not to feel for their loss.

Berger has more tools at his disposal than Milestone did with the challenges of the early sound era, yet those advantages somehow make this update less impressive: The magnification in scale and dexterity lends itself to showing off. Still, the movie aims to pummel you with ceaseless brutality, and it’s hard not to be rattled by that.

Matriarch opens by watching a nude figure descend into a pond of black muck, but the slog that follows in this derivative, tar-flow-paced thriller from Britain is strictly for the viewer.

While the animation gives the documentary some distinction, the narrative can’t entirely shake the sense that this momentous but brief episode is scaled more for a short than a feature.

“Last Flight” is at once a memorial to Eli, the last of that generation of the family to die, and — almost incidentally — a philosophical argument about how death can be faced well.

InHospitable is a decent advocacy documentary that compellingly argues a couple of points that aren’t easy to make compelling onscreen.

A grim social-realist drama from New Zealand that labors to twist its narrative into a redemptive arc, The Justice of Bunny King has an unsteady tone to match its ungainly title.

Escape From Kabul is a short-term recap. A more robust movie, following these witnesses over several years, is still waiting to be made.

Stephens’s ideas and presentation make for a dense, continually absorbing hour.

Cousins’s assessments offer plenty to argue with, but it’s possible to enjoy “A New Generation” without agreeing that “Booksmart” “extends the world of film comedy,” as he claims, or that a shot in “It Follows” merits comparison to the camerawork in Michael Snow’s landmark experimental film “La Région Centrale.”

Many documentaries have dealt with real-life ambiguity by making it part of their structure and argument. This one treats it as an afterthought.

The story is invented, and not particularly exciting as such.

The Good Boss provides prime material for Bardem, who has to maintain a polished veneer even as his character’s mendacity and troubles mount. As satire, though, the movie is facile.

The sheer derangement of its plot and a bizarre casting gambit make it more interesting than standard straight-to-streaming schlock.

Free Chol Soo Lee is somewhat dry and, as criminal-justice documentaries go, sadly familiar when it strays from Lee’s unique and grim perspective, which includes details of his struggles with prison life and depression.

Evans has made a lively and illuminating tribute, and not always an unduly flattering one.

While starchy in presentation, Exposing Muybridge makes clear that its subject’s images still have a lot to show us.

The past-present parallelism is provocative, but it also seems faintly superficial — a way of eliding distinctions and streamlining history.