Dennis Harvey

Bleakly Dickensian as all this sounds, much of China Blue is charming, because its subjects are.

Very English, very period and very polite.

Draws on extensive archival materials to etch an absorbing portrait of a singular counterculture mini-phenom that will be manna to music fans.

Though lacking the emotional depth and almost epic scope that made “Henry Fool” loom so large after Hartley’s anecdotal, idiosyncratic early features, Ned Rifle is a far more satisfactory extension of its memorable characters than the misbegotten “Fay Grim.”

A film that straddles the line between artful and arty like this one isn’t designed for a wide public. There are moments that are striking, even if the their impact is muddied by a minimalism that at times feel pretentious. “Features” is ultimately worth the sit, but it needn’t have required quite so much effort.

Producer Charles Evans Jr.'s directorial debut finds an engrossing suspense angle in the involvement of Victor DeNoble, an idealistic scientist-turned-whistleblower whose suppressed corporate research became the bombshell catalyst in that struggle.

Not all of it works, but this is a bold and talented debut, all the more impressive for transcending (while embracing) some shameless exploitation tropes.

Colangelo (whose underrated 2014 first feature “Little Accidents” was about the aftermath of a fatal mining accident) has created a consistently interesting if slow-moving drama that works very well as a showcase for its lead performer.

Resolutely unshowy, sometimes almost too lower-case in its observations, Yosemite pays off in an authenticity that pervades both individual scene rhythms and performances.

Often grotesque, though never in the "Sick and Twisted" juvenile gross-out mode, dreamlike feature is as lovingly crafted as it is unsettlingly sour-sweet, with Mark Growden's avant-garde folk score in perfect synch.

If it seems more of a flashback than a flashpoint — particularly as impeachment proceedings seem to crowd out discussion of anything else — Us Kids nonetheless reminds that this issue too often comes down to children, and whether our society places enough value on that supposedly most-precious-resource to meaningfully protect them.

Somewhat fictionalizing a few elements from that decades-spanning exposé, Mafia Inc isn’t the most stylistically flamboyant, violent or memorable specimen within its screen genre. But it does provide an engrossing thicket of criminal intrigue that ultimately comes down to a conflict between two families.

Nearly half over before it finds a consistent groove, let alone a decent hit-to-miss joke ratio.

The sense of immediacy and excitement is contagious.

Being a solid cut above average is good enough, given so much formulaic mediocrity among thrillers cluttering the streaming market.

Crisp handling, some clever twists and a welcome streak of dry humor hold attention throughout

Becks is the kind of modest, non-earthshaking indie enterprise that ends up being so satisfying mostly because it’s about a character type familiar from real life but all too under-represented at the movies.

Getting so close to real-life mental illness, via footage that spans many years, renders Tarnation a uniquely potent experience.

Warm and entertaining enough, with Brenda Blethyn doing a variation on her "Little Voice" vulgarian amid appealing support perfs.

Goran may in the end be simply a clever, sick joke, but it’s one that’s very astutely played.

On its own terms, Noer’s adventure is ultimately a dramatic and dynamic-enough telling of an indelible fact-based story to connect with viewers.

A basically admiring if critical portrait, documentary by Henriette Mantel and Stephen Skrovan (strangely, both standup comics and TV comedy writer-producers) finds more than enough absorbing material to hold interest through nearly three-hour runtime.

While best enjoyed by the already converted, it provides enough showbiz insight and interpersonal drama to entertain newbies.

Though not without its flaws, the movie has authenticity and resonance; there have been plenty of good surfing documentaries, but very few good dramas about the sport — a short list on which Breath instantly earns a prominent spot.

Though not in their class, Ms. Purple aims for something of the bruised romance of alienation and ennui that Antonioni made his name on (most notably “La Notte” and “L’Eclisse”). The fact that it even lands in the same ballpark without growing too pretentious or mannered — though it’s admittedly a little of both — is admirable, not least for simply being so out-of-step with any current cinematic vogue.

Picture ultimately pulls off a fairly ambitious narrative agenda with a wrap both credible and crowdpleasing.

Daryl Wein's engrossing portrait of Richard Berkowitz is freshly engaging largely due to the subject himself.

Trivial-sounding hook manages to float a funny but complex meditation on identity, ethnicity and cultural expectations that should be as accessible to teens as adults.