Gary Goldstein

The story might have had some thematic heft if we knew or cared anything about the characters. But all we can glean about the disastrous Kostis is that he’s had hard times, while Anna is a total cipher.

It all adds up to a timely, provocative and absorbing tale of money, power and a search for the truth.

This well-intentioned, sumptuously shot tale of love and war, directed by Joseph Ruben, lacks the emotional depth and romantic grandeur to fulfill its epic ambitions.

Love & Taxes is an amusing, endearing trifle.

Anyone with even a shred social conscience should find the comprehensive Syrian civil war documentary “Cries From Syria” a truly devastating experience.

It’s a testament to Jack Bryant’s lovely script and Kerstin Karlhuber’s thoughtful direction that this controversial concept is handled with such even-handedness and grace.

The main achievement of The Institute is that its cast kept straight faces long enough to shoot this risible gothic chiller. A

The oddly sympathetic, low-key and funny Phillips gets deft support from his limber costars, including Sarah Silverman, Jim Jeffries, Mike Judge and Mark Cohen. Amusing songs too.

Though it’s often too quirky for its own good and its bumpy narrative structure can be jarring, the film sneaks in quite a bit of depth and emotional punch.

For much of its fast-paced running time, the film, which involves an after-school fight between two polar-opposite teachers, is just amusing enough to make up for its sheer preposterousness.

Just when you think the film has gratefully escaped its most inevitable turn, it goes there, adding one final kernel of corn to this ho-hum horse tale.

Growing Up Smith is a well-intentioned fizzle that misses what should have been an easily reachable mark.

Tighter pacing, more dimensional and compelling characters, and twistier consequences could have helped better propel this dark, semi-intriguing tale.

It’s a terrific film that deserves far more attention than its low-profile release is likely to receive.

Murphy’s quietly precise performance ultimately can’t overcome the film’s chilly gravity and unsatisfying finale.

It’s an often tender, affecting film that slowly creeps up on you — then completely takes hold.

The visuals and concepts presented here may be compelling and vital, but director Luc Jacquet (“March of the Penguins”) weaves them together with too little urgency, propulsion and, ultimately, unique sense of purpose.

The film captures the dazzling beauty of its ocean locales, both above and beneath the surface, while soberly reminding us of the crucial ecological issues — and solutions — at hand.

It’s six or so characters in search of a meaningful movie.

A fine Watkins brings quiet depth and pathos to the buttoned-up, tightly wound Jonathan, while Graye proves an appealingly game and sexy counterpart.

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.