Ken Jaworowski

Pilgrimage raises a question or two about unexamined beliefs and religious zeal. Those questions, as well as all that blood, won’t appeal to everyone. But those who can stomach them will receive some dark rewards.

Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.

Even at 75 minutes, it can feel padded with footage whose connection to the central plot is tenuous. But at its best, The Wanted 18 follows a worthy tradition of highlighting absurdities that arise during conflict.

The Most Unknown works best as inspiration to delve deeper into these disciplines, and as a celebration of science. And when the film comes up short, it still functions like an intriguing experiment: It doesn’t have to be entirely successful for you to learn something.

Like a “Black Mirror” episode combined with a philosophy seminar, Realive has plenty of brains. Yet it has a heart, too, and that adds a surprising amount of emotion to this above-average science-fiction film.

In Darkness moves along so smartly that near the end, when the filmmakers entreat you to follow them just a bit more, you’ll likely oblige. And why not. They’ve already gotten you to invest quite a lot in this clever little thriller.

I’m only a little embarrassed at liking Heneral Luna, an audaciously manipulative movie that’s more involving than it should be. But really, when a film works this hard to rouse you, there’s no shame in just giving in.

For a movie that promises an “epic journey” to explore a family’s “long-buried suffering,” it’s strangely unsatisfying, and eventually wearisome, to find that this clan is deeply troubled perhaps only in the eyes of its filmmaker.

Making a Killing generates a disgust that can’t be shaken.

Some stronger filmmaking would be welcome, sure, but After Louie has an honesty that’s often just as valuable.

Bikini Moon is better in separate scenes than as a whole, where Manchevski’s overreaches and plot lapses become more glaring. In this film, the harshest truths — make that “truths” — are best served in small doses.

Several long, wordless stretches arise during the film, all of them thoughtful. Jaron Albertin, directing his first feature, cultivates tension in small moments and doesn’t force the drama.

Chasing Portraits is small and subtle, with some missed opportunities and occasionally inexpert filmmaking. But it’s not an insignificant effort, and Ms. Rynecki’s cause is admirable.

A tough and cleareyed look at how things are, rather than how we want them to be.

In his director’s statement, Mr. Perez, who also wrote the script, says he sought to fashion a story “that would confuse and bludgeon the audience.” My comrade and I will sip, silently nod and, with a strange kind of awe, agree: This filmmaker succeeded.

Mr. Fessenden’s ambition is admirable, and there’s more than a little raw skill on display. If this, his first feature, isn’t always worth recommending, his talents are certainly worth encouraging.

Mr. Hauck’s affection is apparent in every frame, yet outside of an occasionally clunky line or show-offy moment (O.K., sometimes it’s more occasional than just occasionally), he rarely allows it to alter his aim. That aim is to make a modern noir. That aim is true.

Rock in the Red Zone has its best moments when it explores the anxiety of Sderot’s residents and their endurance. It’s the strongest topic here, and the one you’re most sorry to see interrupted when the film inevitably switches over to something else.

Like a spare short story, this little indie nurtures a few simple emotions, then hopes its audience will stick around to share in them. I’m glad I did.

Everything’s in service of the images in Bridgend, a stylishly shot, eerily scored and moodily acted film that wants for nothing but a plot. Depending on how you like your movies, this is either a walkout or a must-see.

It was a prescient plan. Mr. Stern, a longtime Democrat, vowed to listen closely, and he seems to have kept his word. Though he doesn’t mask his expressions — usually astounded, though never mocking — he’s a genial interviewer, empathic, he says, even if he can’t be sympathetic.

Enigmatic to an extreme, the documentary Bobbi Jene may interest viewers who are well versed in contemporary dance. All others are on their own.

A head-scratcher that ends with a shoulder-shrug, An Ordinary Man feels like a scene-study exercise in which two actors invest full measures in a script that’s only half finished.

Sure, the filmmakers overdo their work. But it’s all in the service of love, and somehow that makes it O.K.

Asif Kapadia, the director (whose film “Amy” won an Oscar for best documentary), has a fine eye for splendor, as does Gokhan Tiryaki, his cinematographer. Mr. Kapadia’s sense of pacing isn’t as acute.

A one-word assessment of this documentary: Tough. As in, tough to watch. Tough to consider. Tough to ignore.

There’s a lot of labor and conflict shown here, and rarely have they looked so good.

Leap! remains peppy as it sets its bar at a low-to-medium height then cheerfully clears it.

All the Rage overrides most of its shortcomings by keeping a breezy tone and by showing Dr. Sarno to be a convincing speaker, as well as an affable and somewhat crusty character.

Catherine Lutes’s camera catches magnificent views of Revelstoke, British Columbia, that are worth watching as you wait 18 minutes for the next semi-interesting scene.

A bittersweet and lovely little movie.

Contrary to his delicious downer of a first film, the terrific “Big Fan,” Mr. Siegel doesn’t venture into risky areas here. He’s content to have these characters hang out in cars or at a diner while chewing the scenery and checking their beepers. If you came of age in the 1980s, that’s enough to enjoy.

Until it delivers an eye-rolling scene near the end, Miracles From Heaven is an unexpectedly effective tear-jerker. More surprising still, that late diversion doesn’t negate much of the movie’s early sincerity.

While those seeking interplanetary scenarios may want more details, fans of endurance stories will be pleased. Indeed, Passage to Mars has the effect of making a trip to another world appear almost secondary. The journey undertaken here seems nearly as frightful and fascinating.

The cast members remain dedicated to their brooding roles as the script admirably reaches for emotions it only sometimes captures.

With an overbearing score, Breaking In telegraphs almost everything that happens yet still provides several jolts amid its occasionally questionable twists. While the filmmakers aren’t exerting themselves to deliver anything other than a popcorn-seller, Ms. Union is working hard to keep you watching.

No commercials are shown during Julian Schnabel: A Private Portrait. They would only be redundant. Instead this documentary serves as a feature-length advertisement for the artist, and is about as daring as a billboard for skim milk.

The survivors offer several potent recollections. Yet most other scenes linger and provide few insights.

A jumbled third act and an indifferent ending ultimately make Hellions disappointing. But there’s a bit of fun to be had in its opening frights, and in trying to figure out what these costumed little monsters really want.

Juicy dilemmas are dangled in front of the audience, then disappointingly yanked away.

One longs to praise Mr. Manrique for attempting a serious-minded story in this, his first feature. But there needs to be a real reason to embrace it, rather than what’s on this screen.

Though speechifying and mawkishness are thankfully scarce, the bland script gives her few chances to go beyond the expected formula.

A good story gets stuck in a puddle of mood in Dark Crimes, a film that strays from its fascinating source — a real-life murder case — into a less successful attempt at noir.

It’s a movie whose good heart is outweighed by its heavy hand.

Theories that are worth voicing are apparently worth repeating, and beats that sound catchy are sure to be replayed many times.

It certainly demands patience (and a forgiving eye) as it experiments with an odd style. Yet it’s also a compassionate look at characters who don’t dwell on life. Instead, they live.

Though the timeline and a few details could use further clarification, dream/killer remains fast-paced and frightening.

An understated and often charming film.

For sure, there are plenty of humorous moments here. But that underlying sadness is the most affecting aspect of the film.

The closing scene of “Faith,” beautifully blunt, ends it on the perfect note. Sure, you could point out a few shortcomings here and there. But those sins are easy to overlook.

Approaching the story for the traditional trappings — narrative, action, even logic — is to ensure disappointment. But look to it for beauty and lyricism, and you may find a deeper satisfaction.

Even with the tongue-in-cheek tone, it’s impossible to overlook the exhausting series of contrivances, coincidences and sloppy filmmaking.

The story behind “Landfill Harmonic” is so good that even some imperfect filmmaking can’t hold it back.

Defying the Nazis: The Sharps’ War is a generic documentary about two people who were anything but. Yet even when the film wanes, its subjects still come across as remarkable.

Thank You for Your Service, directed by Tom Donahue, uses its late scenes to explore nongovernment programs that have arisen to help veterans. Those examples are heartfelt and encouraging, and offer some hope after the devastating early sections.

This roughly constructed yet passionate documentary isn’t shy about showing the massacre of elephants or about calling out the groups implicit in the killings. That bluntness and courage usually overrides the uneven filmmaking.

Asperger’s Are Us rarely stretches to be funny or poignant or touching, and that makes this documentary all the more of each.

Here’s what sounds like one dud job: calculating bird populations in Antarctica. But here’s what that work has inspired: one swell documentary.

Sometimes the effort here is more admirable than exciting.

It’s an interesting mix, though a few of the interviews meander, and, except for the championship, there’s little sense of urgency onscreen.

The portraits drawn of these young people frequently feel half-finished.

Mr. Mully’s actions speak for themselves, and his robust personality makes him a pleasure to listen to. If the film doesn’t always dig deeply into this man’s life, we still see the results of his efforts. Those are enough to admire.

This director isn’t afraid of silence, and he’s prepared to let a quiet moment speak for itself. Attentive viewing is required, and rewarded.

To seek proof is distinctly human, and, in this case, a dose of skepticism is surely healthy.

A big heart and a blunt plot run through Shine, a movie whose story is there mostly just to usher in a dance sequence or an earnest speech.

It’s an important story, made more intense by its tight focus.

In place of some kind of discovery there is mostly lamentation. That may be a valid response to events in Israel, but it’s not always a good way to engage a viewer.

Jerrold Tarog, the director, follows the same game plan as he did in “Heneral Luna,” with sweeping music and proud speeches (he wrote the script with Rody Vera). There are also some nice images of the lush Philippine countryside and of del Pilar’s troops.