Neil Genzlinger

Mr. Fisher-Cohen captures Mr. McMillan's transformation from a guy with a funny look and line into someone who believes his own hype and misconstrues his Warholian 15 minutes for widespread popularity and influence. It's a dismaying portrait and, here in the YouTube age, a direct hit.

An engrossing, unsettling documentary.

[Todd Phillips] delivers an entertaining tale, especially when one or both men have to travel from their home base in Florida to overseas hot spots to correct their ineptitude.

This appealing documentary makes you understand why aficionados regard baseball as a form of poetry.

Ms. Riggs gives each actor a story arc of sorts, and all three are personable guides to this backstage world, explaining the process and terminology and talking openly about their lives and jobs.

Leaves a lot of questions unanswered, which is frustrating, but it gets high marks for honesty.

The film genre that might be called Old People Behaving Hilariously gets an appealing new entry with The 100-Year-Old Man Who Climbed Out the Window and Disappeared, a sometimes daffy, often droll Swedish movie.

Ms. Streep is a delight, hilarious when she’s singing and convincingly on edge at all times.

A riveting piece of work full of unpleasant characters whom you're glad you've met but never want to see again.

The filmmakers found an appealing collection of relatives and others who knew these artists and Savitsky to tell the story, but they also let the art do the talking, with loving, lingering shots of the brightly colored works.

The beauty of the movie, in fact, is that Mr. Estevez does not make explicit what any of them find, beyond friendship. He lets these four fine actors convey that true personal transformations are not announced with fanfare, but happen internally.

Nate’s journey is used primarily to show us the variations in extremist groups and how they might accomplish something drastic like set off a dirty bomb; his inner turmoil takes a back seat. The movie works just fine as a straightforward thriller, though.

Judy Irving injects just enough of herself into her Pelican Dreams to distinguish this sweet film from an episode of the PBS series “Nature.”

The experiment’s methodologies and meanings have been analyzed endlessly over the years, and the film doesn’t delve deeply into these interpretations and critiques. It doesn’t need to; this stark and riveting version of events speaks for itself.

If you can stand to watch this movie — a big if — there is food for thought here about the subjugation and exploitation of women, the limits of psychological and physical endurance, and more.

The script, by Adam Hirsch and Benjamin Brewer, is full of both humor and menace, giving the actors plenty to work with. That makes for an enjoyably slow buildup to an unexpected ending.

The Conjuring 2 does everything you want a sequel to do. It’s as well made as the original, but the location and the story are different enough that it’s not just the same thing all over again.

Mr. Morelli mixes live-action and animated scenes to good effect. He doesn’t have time to give his characters depth, but there’s pleasure in figuring out how they connect and pondering the movie’s modest themes.

Mr. Walker is convincing as a man battling grief, exhaustion and, occasionally, an intruding outside world where lawlessness has taken hold.

[Grohl] shows a decent grasp of how to pace a documentary and how to push nostalgia buttons, avoiding the marsh of smarminess most - though not quite all - of the time.

Yes, it’s full of droll humor, but it’s also a bittersweet portrait of two people, who, in the process of helping their children choose a college, confront the emptiness of their respective marriages.

The humor in Mr. Krawczyk’s script is deliciously subtle, as it has to be when your lead character is a man of few words; a viewer might easily spend the first half of the movie not even realizing it’s there.

[Amy Berg's] instincts about how to pace a true story serve her well with this imaginary one, and so do the performances by Ms. Fanning and especially Ms. Macdonald.

It doesn’t feel like a mere imitation; it has too much wit and too many striking performances for that.

An admirable documentary about an unusual concert tour.

You already know the history told in The Last Man on the Moon, but this story just never grows old.

The director, Mike Flanagan, who with Jeff Howard also wrote the script, demonstrates rare patience for horror fare as he builds toward the macabre.

You may find this sparse film maddeningly elusive, but chances are you’ll come out of it with your head spinning, in a good way.