Gary Goldstein

Smartly, the filmmakers minimize their topic's punchline potential. But even though the running time is short, the movie feels stretched out.

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.

A beautifully rendered, lovingly constructed action-comedy that's sure to please kids and adults alike.

In all, writer-director Jennifer M. Kroot effectively jams in quite a lot about the super-busy Takei.

For all its emotional roller-coastering and wild intrigue, the film's purpose — as well as its title character — feels more symbolic than specific. Still, this well-shot and -designed picture is a mostly compelling, intrepid ride.

Although it runs just a fleet 40 minutes, the film proves a rich and memorable journey.

The world's most successful ring of diamond thieves is inventively and insightfully explored in the documentary Smash and Grab: The Story of the Pink Panthers.

Marquette, aided by Frank Langella's precise narration, has crafted an engrossing and disturbing tribute.

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.

The absorbing romantic drama Cicada feels as real as it gets.

Although the whole thing’s a bit of a jumble, the L.A.-set film becomes more immersive as we slowly adjust to its ambitious conceit and unique rhythms. A solid third-act twist helps square the preceding puzzle pieces and takes us out on a satisfying and moving note.

The Sound of Silence, anchored by a superbly modulated performance by the always intriguing Peter Sarsgaard, is fascinating, original and, yes, deeply resonant.

The film brings us vividly inside the life - and head - of its determined hero, Bud Clayman, as he depicts the process of what he calls "getting normal."

The lovely, heartbreaking Fly Away benefits from superb performances and a gripping story managed with simplicity and grace by writer-producer-director Janet Grillo.

Despite the film’s compact length, it contains a wealth of tense action, complex emotion, deft observations, vital messaging and gorgeous vistas.

There’s much to explore and dissect about the intriguing world that directors Michael Palmieri and Donal Mosher spotlight in their documentary The Gospel of Eureka, but the film, strangely flabby at just 73 minutes, leaves us wanting.

Some testimony here may rankle certain viewers, despite — or because of — Bloch’s attempt at evenhandedness. No matter, it’s a timely and essential portrait.

Despite its omissions, the film proves a rich and satisfying meal and should be embraced by Chaplin fans and completists.

Unfortunately, the film often feels somewhat random and disorganized, with Newnham and Grainger-Monsen never zeroing in on a cohesive narrative structure. Still, the movie's engaging subjects (including several parents) and valuable themes largely carry the day.

Mills peppers his fresh script with an assortment of throwaway lines, kooky character beats and off-kilter emotional truths. That he packs so much memorable silliness into one 80-minute film is quite the feat. Sequel, please.

Brick Mansions, Paul Walker's penultimate film (prior to "Fast & Furious 7"), is a dumb and ugly action picture that works strictly as a reminder of the late actor's head-turning good looks and modest charisma.

A sweet, funny and thoroughly winning romantic comedy that’s a kind of a bi-curious take on When Harry Met Sally for the Millennial crowd — or anyone else looking for some brainy, banter-rific fun.

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.

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.

This handsomely made suspense yarn proves an engrossing, pulse-quickening journey.

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.

Although affecting and well acted, the family drama Bad Hurt is too airless and depressing to fully engage.

Despite his cogent finger-pointing, nifty graphs and succinct highlighting of recent climate change history, longtime followers of the hyper-partisan topic may not find much terribly new or revealing here.