John DeFore

Gently funny and much more forgiving than viewers might expect, the picture plays to Oswalt’s strengths and may resonate uncomfortably for parents worried about protecting their digital-native children without suffocating them or, worse, creating entirely new problems.

One of rock's underheralded pioneers gets his due in Beware of Mr. Baker, an affectionate but unfawning portrait that finds the drummer of Cream still keeping the beat despite hardships both institutional and self-inflicted (heavy on the latter).

Warm-hearted and entertaining, if more sad than its quirky premise suggests.

Fashionistas will obviously appreciate this undishy but intimate doc, which is especially strong in its account of the designer's flowering as a creative teen.

More unsettling than frightening, it's still a trip worth taking.

A history lesson that holds some pleasures even for those who know its material by heart.

Enjoyably old-fashioned in its narrative but crisply modern in technique, it is engaging enough even for those of us with no soft spot for pets.

It's a welcome human-scale outing for a director who stumbled upon leaping from 2000's breakout debut Girlfight to the would-be tentpole dud Aeon Flux.

Less a rock-doc than a surprisingly affecting look at sibling dynamics in a creative family where one brother is vastly more successful than the other.

The action never stops being fun, and it eventually does make excellent use of the heavy machinery Nels' job requires. Cold Pursuit just gets a little winded, like a 66-year-old action hero working hard at high altitudes.

Minimalist in terms of action and scope but attentive to the texture of what is onscreen.

Through interviews and photos, Crump susses out the appeal of moving boulders and dirt with massive construction machinery.

Heartfelt and unassuming but likely to prompt a few complaints that it doesn't ring true.

This is a very enjoyable middle-of-the-road adventure, especially for moviegoers willing to see just about anything starring Rudd.

An affecting brainteaser with echoes of Lynchian dissociation.

It simply offers a chance to spend time with engaging people who've enriched our understanding of complex ecosystems, and who assure us that much of what we've done to the planet is reversible — provided we take action before the keystone species in question are still around to be saved.

Dior and I is a fashion doc with both a sense of history and a feel for the energy of a work in progress.

The story's conclusion benefits from a closure that is satisfying despite — and even because of — its predictability.

Artistically, King is less persuasive as a coherent statement than "Lemonade." But Black Is King may live its ideals more successfully than it preaches them.

Beautifully put together in just about every way, it will be potent stuff on the small screen but deserves its moment in theaters.

The new film adds slices to our understanding of life in this war but not so much so that it feels essential.

Catherine Gund's Born to Fly works very well as a portrait of a maverick artistic sensibility, even if it will leave some viewers wanting more in terms of performance footage.

The film offers a privileged perspective on crucial moments in Johnny Cash's career, and serious fans will likely warm to it on the small screen.

Though the script's handling of the decision itself is uncomfortably abrupt, everything leading up to it benefits from a convincing, lived-in vibe.

Neither over-bleak nor falsely heroic, the movie sensitively observes a short span that, however things work out, is going to be a turning point in their lives.

More conversational than journalistic in spirit, it avoids hard statistics (and the reasons those stats can be hard to come by) in favor of well-informed impressions and anecdotes. Though not the first doc to note the insanity surrounding this subject, it is easily accessible to non-insiders and holds interest even for those who follow art closely.

Rossier strikes a delicate but credible balance between the former leader's unambiguous statements that he didn't know anything about assassinations and critics' insistence that, even if he didn't specifically give orders, he was "politically and morally responsible."

A cinematic hangout with a playfully prickly but very sympathetic subject, affording us a chance to sit at his feet while sampling a body of work that impresses on many levels.