Gary Goldstein

A sporadically fun, heartfelt ride whose script by director Joseph Itaya and Erik Cardona is filled with too many broad strokes, faux close calls, plot conveniences and questionable story points to feel fully baked.

Input from historians, political scientists and other observers, as well as archival footage and photos, and impressionistic reenactment bits, round out this resonant, not untimely portrait of a dark and frightening chapter in Brazil’s past.

Despite an atmosphere of simmering violence and criminal wrongdoing, Boatman is more art film than action film; deliberately paced, skillfully shot, emotionally challenging.

Everything you ever wanted to know — or perhaps never knew you wanted to know — about the wildly influential Roland TR-808 drum machine is laid out with entertaining, if exhaustive, brio in the documentary 808.

Smith is certainly a worthy advocate for the mainstreaming and acceptance of “outcasts” or “others.” Unfortunately, Zevgetis doesn’t dig deeply enough here.

Sporadic dips into melodrama, some on-the-nose dialogue and acting, and an occasionally intrusive score hinder but don’t negate this ambitious film’s power and conviction.

Holmes’ helming is unremarkable — unlike her and Owens’ acting, which is excellent.

Like the prolific Minn’s other disturbing docs, “8 Murders a Day” and “A Nightmare in Las Cruces,” this is a gritty, no frills, at times sensationalistic immersion into grim criminal territory.

It’s a bit of a structural and thematic hodgepodge, and a few key moments feel cursorily handled, but Evan’s Crime remains an effectively scrappy and involving us-against-them drama.

The sumptuously shot, costumed, designed and scored Russian import The Duelist dazzles and provokes as it makes little real sense beyond the confines of its hermetic milieu.

The film over-relies on blunt messaging, one-note villains (bullies, bosses, administrators, worst mall cop ever) and several stacked-deck situations to align us with David and Po, even if we’re inherently on their side from the start.

How the then-newbie performers’ jackpot roles in the heady, heartbreaking show informed their lives and careers forms much of the movie’s stirring narrative spine.

Director Papu Curotto brings Andi Nachon’s tender script to life with stirring economy and warmth as well as a wistfulness so palpable it’s practically its own character.

[A] vital, absorbing documentary.

This capably-acted and shot film...tries too hard to hammer home its points. So much so that its messaging becomes diffused, if not lost, amid the overlong picture’s mounting frenzy.

Hunter Gatherer is a warmly eccentric little indie that’s amusing, authentic and works against expectation. B

Anne Frank: Then and Now may be an oddly structured little docudrama but it makes the most of its eerily cogent message.

Even with several contrivances in the movie’s final third, this remains a taut, haunting ride thanks to solid writing and directing by Zack Whedon (Joss and Jed’s younger brother) and a strong, sympathetic performance by Paul. Find this one.

Greater technical and financial detail, additional period context, a deeper look at what makes daredevils such as Branson and Lindstrand tick, and snappier overall chronicling would’ve made this fun ride truly soar.

Although it’s an often repellant, uneven film that, in the end, doesn’t amount to a whole lot, there’s something thrilling and a bit liberating about the anarchic vibe that permeates this stylized walk on the wild side.

The story of The David Dance might have seemed more timely and vital when first presented as a play in 2003. Today, however, the delayed film version (it was shot in 2009) feels remarkably dated. It’s also logy, stagey and overlong.

Although it aspires to be a kind of latter-day “Love Story,” the rote, overly earnest drama New Life exists largely on the surface.

Despite the use of strong archival clips and photos, the film, with its ongoing stream of talking heads, can make for static, at times sluggish viewing. Still, this key episode in American military history deserves to be commemorated.

The punk and metal music-infused soundtrack belies the film’s largely gentle approach to a series of small, evocative and well-played moments that combine to slowly heal the Lunsfords and prove that you can go home again.

As it stands, this abysmal romantic comedy serves as an abject lesson against vanity filmmaking.

A memorable romantic comedy that stands to bring back the genre’s good name, “It Had to Be You” is as funny, endearing and enjoyably off-kilter as its adorable star, Cristin Milioti.

Star and first-time director Ewan McGregor, working with screenwriter John Romano, has skillfully reshaped Roth’s tale for more urgent cinematic telling, covering a host of profound themes with disquieting power, reflection and grace.

Unfortunately, the climactic table-turning here feels more mechanical than cathartic and does little to elevate the film’s undistinguished narrative.

When Morin ventures into more mundane territory, including several parent-child scenes, the film — and the performances — can feel forced and inauthentic. But as a zeitgeist-heavy memory piece, NY84 knows its stuff.

The largely improvisational approach as well as the limited settings and story arc also undercut the picture’s deeper dramatic potential — despite a powerful, beautifully performed finale.

Unfortunately, this improvised film (Guest’s actors work off a detailed outline) contains the occasional titter but few guffaws.

Characters and situations are painted in such simple, broad strokes, we’re asked to take much at face value.

With its muddy timeline, kaleidoscope of fantasies, flashbacks and hallucinations, broad characterizations and sitcom slickness, the film never settles down long enough to congeal, much less feel remotely connected to reality.

The “time travel” bit kicks in for real — or rather surreal. But this half-baked device proves too little, too late and fails to jump start the film’s prosaic narrative.

Despite the film’s brief running time, it packs in vital social context, gay history and nostalgic imagery along with some sad truths.

Although there are contrivances, and Joe’s blurry “catfishing” tale meanders, these folks’ emotional growth feels authentic and touchingly earned.

Equine fans: Gallop, don’t trot to Ron Davis’ winning documentary Harry & Snowman, which recounts the inspiring story of an underdog show horse, his tenacious trainer and their rise to fame in the late 1950s.

For a drama that’s as quiet and circumspect as Chronic, it’s a decidedly bold film, one that pulls few punches as it slowly peels away the emotional layers of its complex protagonist. t also features an ending that’s as devastating as it is shocking.

Dunn juggles the story’s vital, at times fantastical narrative, eclectic imagery, and wellspring of human fears, flaws and desires with vision and confidence. But Jessup’s powerfully empathetic performance really seals the deal.

Humor here, whether situational or emotionally-based, proves a smart balance of grounded and loopy.

The film is most acceptable when it sticks to its beauty-and-beast dynamic. Even then it’s too dizzying and grandiose and the chemistry between the lead characters is pretty much nil.

This vital, heartfelt portrait lacks the visceral gut-punch needed to fully resonate.

That Rabe (daughter of the late Jill Clayburgh and playwright David Rabe) proves so intriguing to watch is more a testament to her acting focus and stirring, lovely presence than to the dreary role she inhabits.

It’s a strange brew: stark yet beautiful, urgent yet dreamlike.

Although the script by Olivia Hetreed and José Luis López-Linares traffics in vital ideas and still-timely assertions (“We shouldn’t try to fit facts into a set of beliefs!”), a looser, less self-important approach would have helped.

Under the workmanlike direction of Jon Cassar (“Forsaken”), “Bough” breaks little new or inspired ground as it spins out its mildly effective, occasionally silly cautionary tale.

That the World War II-era drama Ithaca was directed by actress Meg Ryan may prove the most notable yet least successful thing about this oppressively sentimental journey.

Emotions run deep and wide here; anyone who’s ever lost a parent, longed for love and acceptance, or tried to find his or her true self should easily relate. It’s a terrific film.

Noah’s awkward, unconvincing script aside, Lewis is the true weak link here as he struggles to sell Max’s wobbly lines and emotions. This is a thoroughly painful experience.

It runs less than an hour, but the inspiring documentary Black Women in Medicine packs in enough smarts, context and emotional clarity for a far longer film.

This sparsely populated film’s smart, enjoyable first half provides some nifty banter, fun character bits and a few jokey surprises. But the story turns a bit flat and convoluted as secrets are revealed, allegiances shift and bullets fly.

Unfortunately, there’s not enough story here to warrant the film’s more than two-hour running time; 90 taut minutes tracking a week in the ruined tunnel would have sufficed. Still, it’s a vivid and relatable tale.

Strouse’s deft script and Krasinki’s game direction upend a host of familiar moments in ways that are fresh and unexpected — if sometimes overly broad. The terrific cast doesn’t hurt.

The Sea of Trees proves a stronger movie experience than one might expect. It’s anchored by a fine, understated performance by Matthew McConaughey and a deeply felt, if at times melodramatic, story that proves strangely immersive.

Fouce mixes vivid, often disturbing archival footage and photos with moving latter-day interviews with several elderly Frank family members and Holocaust survivors, plus glimpses of Otto’s letters and daughter Anne’s famed writings.

A chilling, surprisingly effective crime thriller.

Director Maurice Dekkers stops far short of shooting “food porn” here, instead deftly capturing the often spare beauty of Redzepi and company’s rarefied concoctions including, yes, ants on a shrimp.

An intriguing casting gimmick can’t mask a story — and a relationship — that’s largely unremarkable.

Unfortunately, writer-director Ray Yeung leapfrogs over several key emotional beats and points of credibility. At the same time, he plies an ambitious slate of social, sexual and cultural messages, some more fully formed than others.

Deeper socio-historical context and a more electric approach could have helped us better appreciate the far-flung impact of this visionary artist.

The dreary postmortem drama Five Nights in Maine is barely kept afloat by the gravitas of dueling leads David Oyelowo and Dianne Wiest.

For a movie that involves creating laughs on the fly, the story is tightly told and acted, which adds to its buoyant pacing, astute observations and well-judged poignancy.

The Childhood of a Leader is a chilly — and chilling — political thriller by way of a provocative domestic chamber piece. Strikingly mounted, lighted, shot and scored, this tense, decidedly arty film marks a bravura feature directing debut for young American actor Brady Corbet.

Although Iranian filmmaker Mohsen Makhmalbaf says The President was inspired by the turbulent events of the Arab Spring, there’s also a timeless quality to this absorbing and powerful fable that provides added resonance.

Despite the tale’s potential for an overly broad and crass approach to its loaded setup, Branciforte’s sly, incisive writing and even-handed take on his authentic characters instead errs on the side of wit, candor and a kind of hip sophistication.

The story, although intelligent, is not quite unique or essential enough to merit the film’s protracted running time.

Although it contains its share of diverting shootouts, car crashes and explosions, this self-serious film mostly evokes a forgettable TV police procedural.

It’s competently made, well-acted and largely intelligent, so why isn’t the spy thriller Our Kind of Traitor more rewarding? Perhaps it’s the feeling that we’ve trod this kind of twisty treachery on screen ad infinitum since before the Cold War-era stylings of Alfred Hitchcock — and far more vividly.

I have only kind words for The Kind Words, an emotionally rich, beautifully textured family dramedy that touches on a wealth of interpersonal issues with buoyancy, charm and grace. It’s one of the best films so far this year.

Misconception proves a smart, vital and absorbing portrait.

The film could have used more social, cultural and geographical context. Still, this is such a moving, evocative and rare assemblage of souls, we’re grateful for its existence.

The Fundamentals of Caring is a strained, overly familiar tale of catharsis and redemption. Stars Paul Rudd and Craig Roberts work hard but are torpedoed by writer-director Rob Burnett’s wanting script (adapted from the novel by Jonathan Evison), thudding stabs at buoyancy and sluggish pacing.

There’s much to admire about this alternately tough and tender film, including a fine turn by Caton, some striking outback scenery, and many resonant thoughts about living — and dying.

Thanks to Ifans, though, this remains a watchable film, one that, perhaps like Len himself, falls short of its potential.

For a movie seemingly concerned with clarity and enlightenment, it’s woefully lacking in both.

Although amusing and filled with many well-timed comic bits, especially by the deft Moretti, the movie loses some of its farcical steam en route and suffers from a diffused point of view.

An involving, largely likable film with a sincere emotional core.

Under the steady hand of writer-director Mark Elijah Rosenberg, tension and pathos build, slowly sweeping us along with the captain’s fraught yet hopeful exploration.

More resonant in theory than in execution, the post-Holocaust drama To Life never truly embraces the promise of its title or the roiling emotion beneath its surface.

With a unique narrative conceit and a highly root-worthy underdog at its center, the movie stands apart as a kind of feel-good, audio-visual experiment.

Koechlin gives such a remarkably warm, expressive performance (she and Gupta are non-disabled) it’s hard not to be captivated by much of this tender, if choppy film.

Once again, truth proves stranger than fiction in the raucous and provocative documentary Weiner.

The Curse of Sleeping Beauty is a hard-working but dreary horror-thriller inspired by the classic Grimm’s fairy tale.

This spectacularly dumb and unfunny film will likely bore even the staunchest fans of the “Hangover” movies, of which “Search” is a kind of distant, fatally impoverished cousin.

Bits and pieces of the gay-themed drama Beautiful Something feel real and essential. But this slow-going film often suffers from a forced, navel-gazing quality that can prove exasperating.

That the film looks good matters little when director Peter A. Dowling’s script, based on the novel by Sharon Bolton, is filled with so many thinly drawn characters, blunt warning signs and telegraphed plot points.

The Meddler offers a charming, authentic and well-observed mix of comedy and poignancy.

A strong visual sense, intriguing tempo and effective economy of words combine to make Hostile Border an above-average crime thriller.