Ken Jaworowski

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.