Gary Goldstein

There are ultimately kernels of truth buried amid the film’s random yakking, mini-crises and bits of forced bad behavior, but they prove too little, too late.

Although this quietly daring, decidedly nonjudgmental film doesn’t ask or answer a lot of questions, it paints a cumulatively vivid portrait of young love and early motherhood.

It’s a haunting and masterful effort, but be warned: This is tough stuff.

There are no spies who “dump” or “shag” anyone here, much less jump out of airplanes or buildings, but The Spy Gone North, based on the exploits of a true-life double agent code-named Black Venus, remains a taut, slowly engrossing, effectively old-fashioned Cold War thriller.

As any dog lover will tell you, our four-legged friends make everything better. That’s especially true when it comes to the genial if overly familiar ensemble comedy “Dog Days,” whose four-legged stars bring out the best in the movie’s crisscross of humans — and in the film itself.

As much a commercial for Royal Caribbean cruises as it is a dramedy about a bumpy daughter-dad reunion, Like Father swamps its workable emotional core and adept lead turns with some slapdash plotting and a raft of floating festivities.

The movie, based on the novel “Seventy Times Seven,” is so laden with hoary gay stereotypes and references (enough with “The Golden Girls”!), anachronistic name-checks (Charo? Jeff Stryker?), groan-worthy silliness, overplayed emotion and amateurish crafting it never had a prayer.

As a candid and involving socio-sexual time capsule of postwar to pre-AIDS Hollywood and how one free-thinking pioneer made a secret society of legendary artists and performers undeniably happy, “Scotty” definitely succeeds.

An involving, stacked deck of a story plus strong acting and a mix of vital themes combine to make The Citizen a solid drama about immigration, nationalism and survival in an often unforgiving world.

Despite its singular star and bursts of audio-visual vibrancy, the film may prove more ponderous and patience-testing than enlightening or involving for all but the most intrepid viewers.

Snapshots nicely shuttles between past and present to tell its affecting, evocative tale of familial and romantic love among several generations of women. But it’s the flashbacks that prove more wholly compelling here, so much so that they could have made for their own standalone film.

Larger Than Life: The Kevyn Aucoin Story is a rich, deeply dimensional documentary looking back at the legendary makeup artist who died in 2002 at 40.

The cast, including Victoria Carmen Sonne, as the object of both Emil and Johan’s affections, and Lars Mikkelsen, as the quarry boss, is uniformly strong and singular.

The serviceable but astonishingly generic Damascus Cover features the usual political-thriller tropes — tough but haunted protagonist, zigzag of foreign locales, rival spies, arcane twists, shifting allegiances, wedged-in romance — without adding much that feels unique or exciting.

If the show’s hilarious first half gives way to a more modestly amusing second part, Noble Ape remains good, clean, relatable fun.

Angels on Tap is an ill-conceived comic-fantasy filled with strained and creaky humor, cardboard characters, an inane framing device and, as directed by Trudy Sargent, zero cinematic style.

The film takes liberties with certain truths about Gauguin and his time in the tropics, yet despite — or maybe because of — its concoctions manages to produce a highly compelling central character.

Given the script’s basic dialogue and narrow characterizations, it’s fortunate that there’s such an evocative locale to help us further imagine the lives of the film’s idiosyncratic folks.

It’s a sporadically tense and ominous four-chapter ride that slowly envelops you in its near mythical — at times mystical — neo-western spell.

This Is Congo is a vivid and immersive — if not all that neatly structured or focused — documentary about the Democratic Republic of Congo.

Hepburn’s eye for detail and nuance is exceptional, especially as she evocatively captures the extremes of the film’s imposing landscapes. This is an austere, demanding, deliberately paced picture that will reward the patient.

Belgian director Amélie van Elmbt’s lovely trifle The Elephant and the Butterfly is as sweet and gentle — and at times simplistic — as its storybook title may imply.

It’s the superbly acted interplay between the embattled Alice and Joe that drives this lean, gripping, often profoundly tragic tale.

There’s some well-crafted dialogue and decent acting, including from Joseph R. Sicari as a besieged producer. But this overly talky and stagey film, which takes place mostly in Colt’s hotel room and trailer — and frustratingly off-set — lacks the requisite catharsis and charisma to sufficiently engage.

The startling spike in anti-Semitism over the last two decades is certainly a vast and vital topic for documentary exploration, but director Laura Fairrie’s Spiral proves a largely underwhelming look at an overwhelming problem.

The modestly watchable, at times intriguing romantic mystery Intersection is never quite skillful or convincing enough to forget for even a moment how many far better haunted hunk-meets-femme fatale thrillers have come before it.

Throughout, Reynolds approaches the range of people and issues he encounters with warmth, candor and earnest support.

Although this unsettlingly sympathetic biopic covering around the last 30 years in the life of famed New York mobster John Gotti is mostly well-acted and frequently entertaining, it bites off more than it can — or even needs to — chew, packing it all into a less-than-epic running time.

Its plot can be opaque and its characters often too remote and inscrutable to embrace, but Guilty Men, Colombia’s official Oscar entry for 2018, remains an absorbing, visually gripping crime-thriller from writer-director Iván D. Gaona.

It all plays out more convincingly than it may sound, with McIvor layering in depth, dimension and grace. Period re-creation is also first rate and, for animal fans, there’s eye candy aplenty in the form of giraffes, lions, chimps, flamingos and, of course, one soulful elephant.

A largely inspiring and transporting portrait.

Spotty acting and casting, many thinly drawn or over-the-top characters, weak stabs at humor, and some awkward editing and dialogue further undermine this well-intentioned effort.

At its best, That Summer proves an effective time capsule aimed squarely at Beale devotees, adding light and context to the saga of this endlessly baffling and singularly captivating mother-daughter duo.

Ultimately, this is a memorable look at our desire to love and feel safe, to connect and belong — and the unexpected ways in which families can reshape and grow.

It all plays out a bit randomly, but the leapfrogged plot points, thin characters and blunt messaging in Max Botkin and Marc Hyman's peppy script prove forgivable, given how this nicely modulated film largely avoids the hyper-aggressive jokiness and desperate stabs at relevance that often plague kidpics.

This is a soothing and transporting journey sure to inspire gardeners of all stripes to create their own slice of heaven.

The endless sharing and chaotic conflicts that ensue among these largely uninviting men prove more tedious than convincing, with flashback bits that are more redundant than enlightening.

Thanks to Savage's immersive, often improvisational approach and a compellingly raw, internal turn by Arterton ("Gemma Bovery," "Their Finest") as an everyday woman who seemingly has it all... Tara's claustrophobic world and increasingly checked-out mindset feel undeniably authentic. It's also all a bit grueling to watch.

Although the action, set in the early 1900s, unfolds almost entirely in and around a Russian lakeside estate, the film rarely feels static or stagy, with enough brisk editing, active camerawork and intimate framing to make for satisfying cinema.

The Con Is On takes off like a shot: a stylish caper with enjoyably wry, martini-soaked dialogue and a terrific comedic turn by Uma Thurman as a glamorous British scam artist. Then there's the film's second half — which sinks like a stone.

Although it may evoke such films as "Gremlins" and "The Lobster," as well as David Cronenberg's earlier work, writer-director Bobby Miller's oozy, eerie, yet weirdly soulful yarn feels like an original.

This choppy film, which is saddled with a subplot about a dogged insurance agent (Richard Portnow), becomes more mechanical than emotional, leapfrogging time, logic and process as it scrambles to its too clever-by-half conclusion.

Director Cordula Kablitz-Post, who scripted with Susanne Hertel, effectively presents Lou as neither heroine nor genius but as a flawed, complex, fascinating pacesetter.

This Is Our Land emerges as a vital portrait of political machination, human duality, the power of fear-mongering and how people can reflexively divide into "us and them."

If this swift, entertaining film, set during the post-9/11 run-up to the Iraq war, brashly leans left, it has history on its side as well as, it seems, the interests of our soldiers.

An effective weekend-from-hell thriller with a vital message, a terrific lead performance by Paula Patton and some unexpectedly dimensional storytelling from writer-director Deon Taylor ("Meet the Blacks").

Hopefully, Nwandu's compact tale, so rich with jarring authenticity and boldly configured social commentary, can now reach a wide and appreciative audience via Lee's provocative, propulsive film.

Producer-director Kenneth A. Carlson (a teammate of Catena's at Brown) absorbingly, unfussily captures Catena's daily challenges and feats while also painting a vivid, often heartbreaking portrait of a forgotten people trapped in an underreported sociopolitical nightmare.

Although first-time feature writer-director West Liang misses the boat on depth and any sort of memorable emotional unraveling, he touches on a range of realistic, recognizable feelings and dynamics: romantic, marital, parental, professional, sororal.

Bye Bye Germany is a deeply felt yet unsentimental, often wry look at a group of Jewish friends — all Nazi-era survivors — who, in 1946 Frankfurt, unite to sell high-end linens to raise the funds to emigrate to America. Not your typical Holocaust-inspired drama.

Despite a strong lead cast and good intentions, Aardvark is a drag. Writer-director Brian Shoaf may have much to say about family dysfunction and its emotional effects but never finds a persuasive enough way to mine this oft-tread territory.

The Dixie-set, coming-of-age tale Krystal, directed by William H. Macy and written by Will Aldis, is too forced, chaotic and randomly eccentric to make for a fully engaging and cohesive emotional experience.

Anchored by Jacobson's touchingly layered turn as a dutiful enabler, this risk-taking piece has an effectively anxious, naturalistic feel (it was inspired by producer Samantha Housman's own experience), with Franco bringing credible charm and desperation to the messed-up Seth.

Director-editor Simon Kaijser takes an often choppy approach to the narrative, the catch-a-mouse symbolism is a bit heavy-handed and the ending could use more oomph.

Pacino bites off an awful lot here, yet, as our puckish, ebullient and, later, prickly guide on this kaleidoscopic journey, he manages to present an intriguing and passionate view of artistic risk and reward.

The feature's visual simplicity ends up countering the play's more florid, flamboyant elements, keeping the lean but intense story more centered and accessible.

[An] accessible, persuasive, often amusing look at how investments in dubious Chinese companies gave way to crisis-level losses for average American stockholders in the wake of the 2008 financial disaster — and beyond — and made some U.S. bankers and lawyers and Chinese executives a bundle.

When the film, directed by Jason Winn, should accelerate, it turns sluggish, attempting to dot a few too many i's — thematically, emotionally, racing-wise — in telling its only marginally compelling story, with the lackluster Tom-Jeremy dynamic driving too much of the action.

It's all rather low-rent and generic, not particularly distinguished by its overused Bayou setting.

As a chance to watch Collette and De Palma at work, soak up some lovely Paris locales and root for a working-class underdog, Madame proves a breezy enough diversion.

The film rarely feels static or stagy. It's a fine and memorable effort.

The film contains many moments of canine uber-cuteness that although not unbearable, are definitely a bit much. Fortunately, the kids here are less aggressively adorable and feel fairly authentic.

The cast, including Jason Biggs as a dorky social studies teacher, does what it can with the toothless, painfully unfunny, thoroughly unconvincing material. How some movies get made is truly a mystery.

That the film is animated, yet feels so thoroughly real, is a testament to its vivid use of rotoscoping as well as a solid script by director Ali Soozandeh, an Iranian expatriate.

The crime thriller Bent, not to be confused with the acclaimed Holocaust-era drama of the same name, is a routine programmer filled with surface characters, generic tough-talk and forgettable plotting.

Unfortunately, writer-director Yan England never focuses on any one lesson long enough to make a complete or satisfying statement. The result: a potentially meaningful movie that hands us a double dose of despair when a ray of hope was needed.

Tutu and Blomfeld's confrontations have vigor and commitment but don't build to the requisite catharsis.

The visually arresting, wickedly entertaining crime drama Pickings marks an impressive narrative feature directing debut by Usher Morgan, who also wrote, edited and produced. He's a talent to watch.

Although director Giorgio Serafini keeps the action apace in what's largely a one-location setting (the movie was shot in Texas), Garry Charles' script at times lacks clarity and credibility, as well as sufficient back story about the showy Steve. Still, Flanery and Balfour keep us watching.

Unnerving camerawork, editing and sound design rule this nightmarish, nonlinear effort which features credible glimpses into the world of celebrity, if not the music business itself. But dialogue, characterizations and acting (Eric Roberts has a negligible cameo) feel decidedly secondary to the film's more jarring visceral elements.

Curvature is a forgettable sci-fi thriller whose intriguing start gives way to an arcane, convoluted plot that fails to viscerally or emotionally engage.

The Aussie crime-thriller "Hidden Light" manages to be an involving ride despite its sometimes murky storytelling and elliptical character connections.

The film's first half is so annoyingly glib and faux-amusing, it sets a misguided tone that distances instead of engages.

Director Jason James, working off a darkly amusing, often lovely script by Jason Filiatrault, effectively juggles the film's disparate, tone-shifting parts and bits of magic realism while coaxing memorable performances from Middleditch, Weixler and Bang.

A few plot contrivances aside, Padman is a well-told and performed film that compellingly fills its lengthy running time with hope, resolve and exuberance.

The colorful animated comedy Monster Family relies so heavily on pratfalls, slapstick and other bits of rude or raucous action that it undercuts whatever good intentions its workable story may have had.

It's Momoa's show and he brings strength, warmth and gravitas to a part that, thanks to an emotionally-grounded script by Thomas Pa'a Sibbett, based on Mike Nilon's story), proves more than just "Conan, the Lumberjack."

It's a no-go from the get-go with its labored stabs at humor and satire, doltish characters, utter disconnection from reality (even for a spoof) and scenes stretched to the breaking point.

Writer-director Norman Gregory McGuire needed to better flesh out his inconsistent main characters, clarify their goals and motivations, and deepen their journey with more vivid set pieces and fewer clichés.

Writer-director Dito Montiel, adapting his novel, takes an ill-conceived premise and drives it into the ground with a painful, tone-deaf approach to both social satire and romantic comedy.

Director Dimitri Logothetis, again scripting with his Kickboxer: Vengeance co-writer James McGrath, barrels through the chockablock action with requisite energy. But dialogue and performances (including Mike Tyson as Kurt's prison mate), are often laughably subpar.

If writer-director Sam Hoffman’s charming, well-performed tale feels at all familiar, it’s territory worth revisiting.

The often difficult squaring of religious fervor and sexual longing receives poignant, powerful treatment in The Revival, deftly directed by Jennifer Gerber from a sensitive script by Samuel Brett Williams, based on his stage play.

Sensitively written and directed by Damon Cardasis, the movie is punctuated by an affecting string of musical numbers (Cardasis co-wrote the film's song lyrics with composer Nathan Larson) that deepen and enliven this lovely, vital tale.

Salama gently, effectively examines the role religion can play in one’s life and outlook versus how a secular, more free-thinking existence may offer greater latitude but not always better or happier choices.

This capably acted, if unevenly paced film often lacks focus and depth.

[A] diverting, oddly candid, often satirical documentary.

As a perilous dog-and-mouse game ensues, Solet packs his script with tension, dimension and several vivid flashbacks recalling the characters’ seminal encounters with dogs. Cool camerawork too.

Although the movie...could use some second-half tightening and a bit more objectivity (Georgia-Pacific and Koch Industries did not comment in the film), it remains a vital, eye-opening portrait.

Forget the cheapo title, Badsville is a powerful, deeply felt crime drama about letting go of the past and getting out of Dodge — before it’s too late.

The stirring, masterfully constructed documentary “Apache Warrior” makes intriguing use of three recovered flight tapes from a squadron of U.S. Apache fighter helicopters that launched a deep attack in Iraq at the start of the war in March 2003.

A creaky recount of the relationship between affluent, New England-born painter Catharine Robb (Julie Lynn Mortensen) and her rural-Canadian artist husband, Peter Whyte (Juan Riedinger).

Headley has created three oddly memorable folks here, no small feat given their detail-light histories. It’s also a testament to the able cast — especially the enjoyably nimble Rogers — that we invest in their characters and their cockeyed plight as much as we do.

A delightful, embracing cultural experience.

The Man Who Invented Christmas is a jaunty, amusing patchwork of truths, half-truths and pure fiction that cleverly combine to recount the story of the whirlwind creation of Charles Dickens' famed novella "A Christmas Carol."

Ameer may be aiming for a profound look at self-hatred, denial or the perils of the gay closet, but his story and characters are too superficially etched to make an impact.

An action-packed third act gives way to a bit of an anti-climactic ending. But it all moves so fast, furiously and unfussily that genre fans should be satisfied.

Kalhor's concise if low-key narration helps the story's many facts and facets unfold with clarity and context. Ultimately, though, it's the stranger-than-fiction nature of this eye-opening tale that makes the film so vital and involving.