Gary Goldstein

An enlightening, lively, perhaps not unfamiliar outing.

A Land Imagined never congeals into anything intriguing or compelling enough to earn our required patience.

There are several uniquely impressive elements to the adventure drama Mia and the White Lion, but they’re undermined by a choppy, at times contrived and implausible script by Prune de Maistre (wife of director Gilles de Maistre) and William Davies.

Although this cleverly shot and edited picture (it began as a short, grew into a digital miniseries and was then expanded into a feature) doesn’t shy away from its eccentric side, it remains a convincing, relatable look at one woman’s inner workings and the vicissitudes of love and friendship.

What could have been a deep and rousing clarion call on the homeless crisis gets supplanted by surface characterizations and situations, us-against-them broadsides and weak story strands.

Gripping...It’s a tough, distressing film, yet in the measured hands of directors Pat McGee and Adam Linkenhelt, its emotional and humanistic qualities transcend the kind of exploitive defaults that could have made this a punishing, eye-popping horror show.

Despite sincere efforts, it too often plays more like a glorified home movie than the kind of polished, fully dimensional work the subject deserves.

The chance to view so many gorgeous, majestic tigers up close and personal is alone enough to recommend Ross Kauffman’s fine documentary Tigerland. That it’s also a stirring look at efforts to protect this dwindling big cat population makes it essential viewing for lovers of animals, nature and exotic adventure.

The plodding Out of Blue isn’t out of ideas — just out of gas.

In Captive State aliens have taken over the world (as they will), but it’s the viewers stuck watching this messy, lugubrious sci-fi thriller who may feel like the ones being held captive.

Despite esoteric subject matter, writer-director Kim Nguyen (War Witch) has crafted a smartly entertaining and unexpectedly human film with his financial thriller The Hummingbird Project.

Elba brings care to the film’s performances, period look and musical elements. But the freeze frames, needless voice-over bits and stalled narrative momentum undercut the picture’s potential power and uniqueness.

Due to the movie’s deliberate lack of narrative arc, thematic stance and clear characterizations (the soldiers feel interchangeable and Logaze’s interview style is weak), we’re never always sure what we’re watching — or why.

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.

Absorbing, well-structured and superbly acted.

Stray falters in the narrative department but looks good and holds interest.

Director Ondi Timoner, who co-wrote with Mikko Alanne (based on a screenplay by Bruce Goodrich), has crafted a stylish, evocative, absorbing snapshot of creative expression, artistic ambition, sexuality and eroticism.

In 70 short minutes, directors Dennis Scholl and Kareem Tabsch skillfully pack their Miami Beach-centric documentary, The Last Resort, with a wealth of visual, emotional, social, cultural and historical significance.

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.

Just sit back and enjoy.

Amid the glorious music, the fine period re-creation and burnished photography, the emotionally sound portrayal of artistic endeavor and that award-worthy turn by Berkeley, The Maestro often scores.

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.

The Kirkes are attractive and intriguing actresses, Mendelsohn again proves one of the best screen actors around and Dornan looks great in scrubs. But it’s hard be sure exactly what Forrest is trying to say here and the film isn’t compelling or appealing enough to sufficiently care.

It could have been smarter without sacrificing pacing or chills. That’s not a dealbreaker — target audiences will likely be satisfied by its many pluses — but the film is good enough that you wish it went all the way.

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.

Somehow, despite that minimalistic approach, we are emotionally swept up in Overgård’s desperate fight to stay alive.

Its timely messages become muted amid a kaleidoscope of settings, characters, brusque action scenes, blunt speechifying and wan romance.