Ken Jaworowski

The truth turns into a tangled mess in A River Below, a bold and urgent documentary whose seemingly straightforward story quickly runs awry.

Considering all that’s been written and said over the last year, there’s not much new to learn from 11/8/16. But the film remains engaging for its stories, and is likely to be more instructive in the future, when passions have cooled. Judging by most people here, that won’t be soon.

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.

It’s an artful and lyrical assembly.

As with a dream, you can parse what you’ve watched for meaning or just savor what you’ve seen. For this compassionate film, either way works fine.

Sad, tender and quietly moving, The Departure never says more than it needs to, much like its subject, a Buddhist priest who counsels those contemplating suicide.

Even when its plot starts to sag, Walking Out remains beautiful to watch.

There are several strong stories in The Death and Life of Marsha P. Johnson, a documentary that, in trying to tell them all, takes on too much.

While this worthy film sidesteps clichés — there are no horrid flashbacks or emotional speeches — its spareness occasionally feels planned rather than spontaneous. After a powerful first half, later scenes offer diminishing returns.

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.

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

This potent film gives equal weight to complex emotions as well as bare facts. In the same way, it’s not just the story of a man’s death, but also a study of the aftermath.

Sometimes the effort here is more admirable than exciting.

Peter Bratt, the director, uses an immense amount of historical footage and interviews, arranged with clarity.

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

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.

The trouble with the movie — and it’s significant — is that Mr. Saleh is so keen to survey Egypt’s dysfunction that his pacing wanes. It’s possible to admire each scene and still see this film, in its entirety, as in need of some serious sharpening.

It’s a little amazing how a story so guilty of gross-out violence can retain a share of comic innocence.

Mr. Fogel could be considered either daring or foolhardy for his initial plan. But his work with Dr. Rodchenkov is levelheaded, and his documentary illuminating.

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.

For sure, this funny and tender film prompts cheerful smiles, but sometimes they turn melancholy.

The humor is dry and the acting deadpan in Women Who Kill, a comedy that plays it droll and is all the funnier for it.

If you couldn’t name two Native American musicians at the beginning of the documentary, you’ll remember at least a half-dozen after the end. And it’s a good bet you’ll be searching for their albums, too.

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

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

Heavy with emotion yet light on information, 500 Years has the curious effect of being both passionate and pale. You may find yourself championing its subjects even while feeling confounded by the omission of details by its filmmaker.

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

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.