Ken Jaworowski

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

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.

A haunting first half can’t offset the absurd ending of I Think We’re Alone Now, a post-apocalyptic tale with a late plot twist that feels as if it comes out of left field. And right field. And center field, the stands and the dugout, too.

This formidable film is sometimes zealous to a fault: The credits cite more than 200 sources of archival material, from The Washington Post to YouTube channels. It’s a lot to take in, as names and numbers zip by, yet missing some of its points may be healthy. To explore every moment is to risk overdosing on outrage.

Try as it might, sadness still can’t get the best of The Rest I Make Up, a lyrical and lovingly made documentary about the playwright María Irene Fornés, which recalls her career and follows her over several bittersweet years as Alzheimer’s steals her memories.

Though the film is heavier on summaries than specifics, its messages are troubling nonetheless.

The surgery scenes in The Bleeding Edge are squirm-in-your-seat uncomfortable. But it’s the interviews — watching patients recount agonies they’ve suffered from poorly researched and regulated medical devices — that are hardest to sit through.

It’s an amusing tale for young audiences, ending with the expected messages about friendship and courage. But there are delights for adults as well, particularly in the first half, with sendups of various comic book series (some aimed at DC’s own arch-nemesis, Marvel) and an extra-large supply of spoofs on other movies.

While it would have been easy for Mr. Sobel to unleash an angrier screed against the inequalities shown, some well-placed images tell us all we need to know about the haves and have-nots here.

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

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.

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.

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.

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.

For those terrified of heights, Mountain will be a nonstop nightmare. Yet big scares are a small price for the awe-inspiring footage you’ll see. As for what you’ll hear, that takes a little explaining.

It’s easy to second-guess a scene or three in Anything. Yet this is a film that wagers you’ll put aside your doubts and open up to its gentle emotions. It’s a bit of a risk for a viewer. But I’d take it.

The filmmakers rarely delve into the spiritual aspects of the story, but that’s O.K. You don’t have to believe in Padma and Urgain’s religion to believe in them.

It’s a film that doggedly questions an exam that affects the futures of millions and feeds the fortunes of several big industries. Someone else — the schools — needs to supply some good answers.

Jon Kean, the director, chose the material wisely and doesn’t shy from severe images. He and his team also have good ears for anecdotes.

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.

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

Summer in the Forest is an extraordinarily tender documentary that asks what it means to be human. Here, even the most gentle scenes raise mighty questions.

Over-narrated and self-serious, this documentary allows its good intentions to pave the way to a tepid tale.

The filmmakers supply terrifying footage: At civilian rallies, we see nightstick beatings and bloody riots. During military battles, bullets whiz by and explosions shake the cameras. Nerve-racking scenes follow Ukraine’s extraordinarily bold volunteer soldiers.

A documentary that’s remarkably engaging despite treating its rough-and-tumble hero with kid gloves.

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.

This film isn’t always pretty, but its message is necessary.

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