Gary Goldstein

It’s a loving, rousing look at an amazing athlete. Yet for all its gripping, nail-biting action clips, there’s one moment in the film that rises above the rest — and it’s not set on the race course.

What the film lacks in biographical depth, it makes up for with stirring visuals (including effective bits of split screen, time-lapse photography and animation), a vibrant score and an infectious, in-the-moment spirit.

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.

It’s about as plausible as your average stage — or movie — musical, but Opening Night proves a funny and sexy, if decidedly slight, backstage comedy.

Although this movie’s unusual mix of first-person interviews, archival footage, voiceover narration and dramatic reenactments is a bit awkward, it still makes for a gripping, involving and affecting experience.

Despite the familiar setup, this is no "Same Time, Next Year," what with its hot-sheets trysts, full-frontal flashes and frank language. But the brief - sometimes very brief - encounters glimpsed here between the film's leads and sole characters (billed only as "Man" and "Woman") are inventive and telling.

Although the film can feel a bit been-there-seen-that, this earnest, well-drawn tale ultimately proves distinct and winning enough to warrant a look.

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.

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.

Although it hardly reinvents the genre, the film, nicely directed by Hughes William Thompson, offers just enough smarts and charm to feel fresher than most in its class.

It all adds up to a kaleidoscopic, somewhat random, yet always involving approach to a major concept that, despite the wealth and breadth of Taylor’s offerings here, feels like just the first step in surveying anew where democracy stands — and falls — in our present universe. But what a crucial first step it is.

Despite some diffused messaging and oddly elliptical storytelling, "In the Name Of" proves an absorbing, at times hypnotic drama about religion, repression and sexuality.

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 Lifeguard is a watchable, emotionally redolent trip down one woman's memory lane.

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.

The film, named for "Calvin" creator Bill Watterson, offers not only an in-depth look at the comic strip's unique influence but also a concise snapshot of the dwindling state of newspapers and their "funny pages."

There are no great emotional revelations about the fearless, free-spirited athletes profiled in the film, but these tanned-and-toned folks' deep love of surfing and mostly cheerful demeanors prove enjoyably infectious.

The filmmaker and his on-screen proxies boldly go places our national discourse desperately needs to go, yet rarely does.

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

The film takes such an emotionally based, non-wonky approach to its featured business, it should absorb gamers and non-gamers alike.

Fisher's separate visit with several still-traumatized American World War II vets who helped liberate the death camps is also stirring - and horrifying.

Lucky Bastard is a bold little thriller — and deft cautionary tale.

Fortunately, Pajot and Swirsky don't overdo the minutiae (this is a movie even non-gamers can enjoy), offering just enough insight into the creative process to feel enlightening.

An impressive array of archival news footage, enlightening interviews with activists, politicos, academics and journalists, plus a dispensable Alfred Molina-narrated animated parable, round out this provocative, if at times overly ambitious effort.

Campbell Scott's strong narration (well-written by Allentuck) and fun vintage musical selections effectively round out this provocative portrait.

What director-editor Robyn Symon's entertaining documentary lacks in polish it makes up for with its uniquely charismatic lead subject and her stranger-than-fiction tale.

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

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

A film whose poignancy is hard to deny whatever side of the abortion debate you fall on.

The journey of J.D. Salinger from young wiseacre to world-celebrated author and notorious recluse is absorbingly traced in Danny Strong’s Rebel in the Rye.

Spirited, the umpteenth screen incarnation of Charles Dickens’ evergreen “A Christmas Carol,” is such an amusing, buoyant and good-natured entertainment that it’s not hard to forgive this flashy musical-comedy-fantasy’s missteps. Grinchy viewers, however, may sing a different tune.

Adam Dick makes a solid feature writing-directing debut with “Teacher,” a tense and propulsive thriller with several vital, provocatively rendered thoughts on its seething mind.

By the time the noirish thriller Naples in Veils draws you into its enigmatic web — which is pretty much from the start — you’re sufficiently invested to enjoyably coast through the rest of this hypnotic, if ambiguous, Italian import.

Loosies (slang for singly bought or bummed cigarettes - and a nod to Bobby's commitment phobia) proves a largely enjoyable ride.

Although deliberately paced and a bit repetitive, the movie contains many lovely subtleties and two superb, swoony lead turns that keep us invested.

Ultimately, it’s the social, sexual, political and artistic power of the same-sex dance phenomenon that gives the topic its unique heft and vitality.

Loyalties are tested, futures are reconsidered and the body count climbs in the effective action import New World.

Director Dong-Suk Kuk ratchets up the tension, effectively toggling back and forth in time to reveal the picture's various puzzle pieces.

Although the story, which feels a tad past its expiration date, never digs too deeply into its central issues (hypocrisy, loneliness, censorship, finding one’s voice), Dan Harris’ peppy direction and nimble turns by the film’s young leads prevail.

Best appreciated for its sweet eccentricities (beginning with reggae lover Jack's would-be dreadlocks), optimistic outlook and authentic New York vibe, as much as for its commitment to being exactly what it is: an affectionate homage to working-class underdogs trying to carve out their own little corners of happiness.

Although this well-acted film, which was Israel’s official submission for the 2022 international film Oscar, is a bit slow-going, it presents a timely, pointed, at times cleverly satirical snapshot of Israeli-Palestinian relations. It also offers an often poignant look at a dysfunctional family at the center of it all.

Part sword-and-sandal spectacle, part disaster epic, Pompeii accomplishes its ambitious agenda to largely engrossing effect.

A largely inspiring and transporting portrait.

If Becoming Nobody may dig only as deeply as the filmmaker and/or Alpert chose to go, it remains an inspiring, stirringly meditative portrait of one man’s profound spiritual influence on a world that has surely needed him.

The mishmash that results is by turns creepy, silly, inventive, darkly funny and, at one point, mind-blowingly bloody. Still, some smart streamlining would have sharpened the focus and amped up the power of this well-shot and edited spookfest.

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

These profiles are frank, absorbing and heartbreaking, if also a bit inconclusive.

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.

While the movie's second half feels more consequential - and more impressively action-packed - than its first part, it also loses some of its initial charm and quirk via a protracted, often dizzying descent into a kind of booty-centric game of hot potato.

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

The well-observed script touches on a number of everyday issues about the aging process — whether you're pushing 40 or passing 60 — that add a tender and enlightening layer to this engaging, leisurely paced film.

If forewarned is forearmed, Seifert's movie might one day prove quite prescient.

A biopic about Mother Teresa could have easily been a self-important slog, yet William Riead's The Letters proves a stirring and absorbing if not quite definitive drama.

[An] entertaining, if straightforward documentary.

Engaging, naturalistic performances and nicely explored real-world issues add to this absorbing film's down-to-earth appeal.

If Remembering Gene Wilder isn’t always the most dimensional or penetrating look at an actor’s life and psyche, it still serves as an upbeat tribute to a singular movie star, and a worthy reminder of how much he’s missed.

Tom of Finland entertainingly recounts an intriguing and vital chapter of 20th-century gay history with style and deference.

We’ve seen many versions of this kind of story before, but there’s something so spot-on and involving about the film, written and directed by Daniel Schechter — and performed with such a lived-in rhythm by its talented cast — that it proves surprisingly refreshing.

Credible performances, effective visuals and tight pacing round out this chilling effort.

Sr. proves a tender portrait and fitting tribute to an offbeat hero and creative pioneer.

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.

The movie engagingly outlines blockchain’s role as the underlying technology behind such digital currencies as bitcoin (which gets its own dissection), plus its growing part in accounting practices, music industry payments and renewable energy markets.

There’s much to recommend here — emotionally, sociopolitically, musically — and it’s heartening to see greater openness to LGBTQ+ folks than outsiders might expect; compassion, grace and humor are in abundant supply.

[An] amusing, freewheeling documentary.

Although vital and intriguing, the film could have been more seamlessly assembled.

If often sad and unsettling, the film is also livelier and less oppressive than it may sound thanks to the fine writing, deft direction by Adrian Noble, and the superb, if painful interplay between Redgrave and Spall.

James and Latif make an appealing, soulful twosome, infusing their nicely dimensional, well-modulated characters with low-key charm and credible longing.

The film proves not only a stirring look at education's potential to rally and invigorate but also a vital snapshot of contemporary rural America.

Like the film itself, Kakkar and Pastides are lively, adorable and thoroughly winning.

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.

Writer-director Paul Leyden does a decent job holding our interest as well as providing a few intriguing twists and reveals. But make no mistake, this is exceedingly far-fetched stuff.

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.

It’s hard not to be taken by these beautiful animals’ intelligence and devotion. More specifics about the dogs’ training, care and the costs involved would have been a plus. Otherwise, it’s a stirring portrait of war, duty, sacrifice and the love of a good dog.

Producer-director Markus Imhoof tackles a hugely vital subject, but the film's loose structure and lack of a specific through-line don't make for the clearest intake of its, well, swarm of information.

The film rarely soars with the kind of authentic spirit and passion needed to fully sell this decidedly old-fashioned material.

It's impossible not to root for these driven, high-spirited participants - and for the longevity of this invaluable program.

That the movie works as well as it does is a testament to writer-director Thomas Farone's persistence and clear connection to his cagey material.

There are enough curiously deadpan, cringeworthy bits in Laerke Sanderhoff’s loopy script to keep you hooked, even as you search for the point of it all.

The movie, although truthful, moving and, at times, profound does more “telling” than “showing” and could have used a more visually commanding approach.

Nakache and Toledano...pepper the film with enough stirring emotional beats, crowd-pleasing bits...and vivid supporting characters such as Samba's ebullient immigrant pal, Wilson (Tahar Rahim), that there are distinct pleasures to be had.

The largely engaging class-reunion dramedy 10 Years allows audiences to pretend they went to high school with the likes of Channing Tatum, Justin Long, Rosario Dawson, Anthony Mackie and Kate Mara.

That Hawke so closely aligns his cinematic style, inventive as it is, with the story’s disorderly, scruffily offbeat characters and settings is both a strength and a liability. His kaleidoscopic, at times ghostly, approach proves a valiant if studied effort.

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.

To his credit, writer-director Nathan Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.

Chittenden and Tzu-yi are expressive actors, but, like the film itself, are hamstrung by the project's self-imposed confines.