Nicolas Rapold

I can’t think of other actors at his level who could keep a sense of true north in a nonlinear story like this, from bear scene to sex scene to earnest confrontations, amid quotations from St. Augustine and Nietzsche.

Lacôte crosses the open-ended energy of griot traditions with the surging tensions of the prison’s close quarters.

Mr. Serra has said his film portrays the eclipse of Enlightenment rationality by the violent forces of Romanticism. It’s a tidy overarching conceit, but the film’s lived-in feel does make for one vivid way of imagining shifts in thought.

The film’s drama wrestles itself to a standstill (along with leaving some characterization sketchy, like that of a concerned social worker). Yet Leblanc might come closer to the sensation of concealed trauma than movies with more familiar storytelling beats.

The voice-over-driven readings and the illustrative footage — unwisely augmented with new sound effects — lack a fundamental filmic momentum.

Checkpoint Zoo portrays a caged and dependent menagerie that bewilderingly experienced humans at their worst and, fortunately, their best.

Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way.

The film does strike one long, nerve-jangling note, but the style leaves Molly with nowhere to run.

It’s fortunate that the cartoons on display are such instantly satisfying works of popular genius, because, despite its subject, “Herblock” shows how even an edifying talking-heads documentary bumps up against the limitations of the format.

The film falls short of explaining Mr. Ali, who, like many outspoken individuals, can stubbornly repel scrutiny, nor will it pacify the many who opposed his conscientious objections. But it also underlines one enduring quality: namely, that he probably couldn’t care less what people think.

The conclusion would be chilling if it weren’t so reserved. For Denmark, the film, an Oscar nominee in the foreign-language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet.

[A] serviceable but slightly drawn-out documentary.

Shot in sunny locales, Difret has an earnestness that hovers between plain-spoken and pedestrian, and there are scenes and sequences that just don’t come together as written and edited, no matter how admirable the film’s existence is.

The Life & Crimes of Doris Payne has an embarrassment of riches in Ms. Payne’s story, and it’s often a ripping good yarn, but, as a film, it lacks the nimbleness and resourcefulness of its subject.

Mr. Zizek’s daisy-chained improvisations amount to an argument on behalf of complexity and unseen depths, and, like much academic writing, it risks monotony and becoming as reductive as it can be seductive.

This sly documentary rises above its speculative hook by shifting to show the very human, and very mortal, sides of these would-be warriors of eternity.

You couldn’t ask for richer reading material, even if the film doesn’t quite live up to the promise of its premise.

The director Mark Neveldine deploys queasy lighting and a trembling score, but his best choice is to let Ms. Dudley stare at us. She conveys unnerving shifts in self-awareness and sinister intent with her eyes.

Less a documentary than an experimental essay tapping age-old notions of the sublime, it’s a perplexing artifact that flirts with the banal yet moves with lovely intuitive rhythms.

Though not very ambitious, this winsome, whisper-thin tale shimmers along with the charming urge to connect and reveal yourself that links its two correspondents.

I did yearn to see more of his talents in action; his header goal in that year’s Italy final feels cosmically liberating. But however conventional as a whole, the movie feels troubled by the traumas of Pelé’s heyday.

Blithely hokey, amusingly eager to distract and rather entertaining, the film resembles a children’s travel show with music-video elements more than it resembles a straight-up documentary.

The survey, pockmarked with sometimes dopey animations and music, feels scattered and less than the sum of Mr. Miller’s many parts. But it has its heart in the right movie-mad place.

Despite the impressively sweeping C.G.I. running battles in Thai fields or seaside settlements, or the gritty “Blade Runner”-lite interludes in crowded metropolises, the story’s engine produces the straightforward momentum of your average action blockbuster — one thing happens, then the next thing, complete with punchy (sometimes tin-eared) one-liners.

Cold Bloom, in its tightly controlled moods, comes to feel like a smaller and more tentative film than it might have been, despite an admirably frank ending.

Despite Mr. Maren’s own ample experience as a writer, the references to book culture don’t feel vivid enough to act as more than scene-setting, and the film’s strength lies in the family relationships.

The filmmakers are blessed and cursed with a subject who seems to lack the usual filters. We in turn witness Mr. Foulkes in action, at length — revamping his works, railing against the art world and speaking his neurotic mind.

The movie, directed by Swinton O. Scott III, plays like an extended series pilot, built out of largely interchangeable episodes.

Stallone’s flair for words — and his references to Arthur Miller’s “A View from the Bridge” and the 1968 dynastic drama “The Lion in Winter” — make one wish he’d talked about much more than his greatest hits and misses.

On its own terms — setting aside the likelihood of knee-jerk political objections to its mission — it’s more convincing than many films pegged to specific causes.

Home From Home is imbued with the villagers’ attachment to the land, but while dutifully capturing the period, the film feels less layered than Mr. Reitz’s past work.

Too many scenes feel routine or clichéd, sometimes even those depicting extreme experiences.

Mr. Kim does show an abiding concern here for the unsubtle realities of human libido and cruelty, but he’s alarmingly tone-deaf as he makes his points, and shows disregard for his female characters as he uses them up.

Embracing what's really standard tabloid fodder of the decade with earnest engagement and doled-out suspense, Cropsey is one step from macabre comedy.

Corny twists and exchanges ensue in the wobbly story, but, delightfully, Daniel Benmayor’s film shows love not just for stunts but for the dynamic surfaces of the city.

For all its faults, “We Steal Secrets” reminds us that despite the potential of WikiLeaks, its project of truth and consequences remains treacherous and complicated in practice.

Sometimes genre-based filmmakers don’t know how to make their material fun without making fun of their material, but that’s not a failing of Mr. Kren’s.

The hormonal realism to the performances and a laid-back run-up give the film a fairly legitimate feel for adolescence.

Documentarian Mark N. Hopkins gives us a mature look at the bracing yet very human personalities attracted to crisis.

The latest production from the BBC Natural History Unit is a typically eye-catching, years-in-the-making chronicle of animal life that is tainted by the urge to anthropomorphize.

Pine wisely avoids winks to the audience. But he whiffs at making the mystery especially gripping, leaving one instead to savor the moments, like a note-perfect Bening calmly talking Pine’s befuddled pool man through his latest setback.

Even as the movie is lampooning one trope, it keeps taking refuge in other conventions in ways that undercut the pop of its premise and make one wish for greater depth to its thought experiments.

It’s Shannon’s slow, steady world of hurt that makes the film watchable.

Mr. Téchiné ’s methodical storytelling covers more narrative ground than the drama requires, sapping the film’s energy.

Ms. Hanna’s creativity and force are catching. But other voices are needed to evaluate her achievements with a fuller sense of cultural context and perspective.

As Denji and his adversaries converge on and above city streets, it’s possible to enjoy the combat on the level of pure sensation. Here, the rapturous ability of anime to isolate and prolong movement and emotion within a frame is on full display.

The film’s four-person shuffle turns into a bit of a hash.

It’s a cornball odd-couple comedy: Prim older woman meets a brassy young gay man. Still, it’s extraordinary just watching the peerless Ms. Rowlands wring the most out of the repartee in this adaptation of a play by Richard Alfieri.

Mr. Meltzer doesn’t quite find an effective tone or structure to stay on top of his unsettling person of interest.

Mr. Wechsler’s film might be loose to a fault, but Mr. Weber’s work yields its share of gratifying, blink-and-you’ll-miss-it New York moments.

Dutifully hitting its marks up to a point, this story of a married man struggling to stay closeted proves to have a maturity that eludes more overtly ambitious dramas on the subject.

King Georges feels stretched into feature length, but its ending neatly portrays a man with a fierce personal code who seems to have accepted change.

The brisk clip and dashes of dark humor ward off actual despair, but the length poses challenges for some of the heavy lifting of character growth.

A little of Sunlight, which she directs and co-wrote with Allen, goes a long way. But there’s still something to seeing a performer go for broke, purging a character’s shame and despair through a screwy, confessional sense of humor.

Mr. Lee’s film is more traditional than its sexually frank humor might indicate, with faith and charity ultimately given pride of place (right alongside human pettiness). But even if some of the crudeness and the drama feel forced, it’s hard to hate.

The crisscrossing pursuers and pesky police suggest a watered-down version of the treacheries in “City on Fire.” But the cluttered, unfolding dynamism of Mr. Lam’s action scenes remains resilient when gunplay or knife fights are thrust into street life.

Golden Slumbers has a tendency to wallow in its romanticism, not to the point of trivializing its history, but definitely dropping off into somnolence.

Getting peeved at Mottola and Hamm’s easygoing efforts would be like getting mad at a cat for sleeping too much.

The Cold Lands feels as if it were just taking hold when it reaches the end of the road.

The fuzziness of Mr. Avitabile’s sentiments on boundary-blind unity is echoed in the movie’s slack, tag-along portraiture.

The screenplay tracing the characters’ struggles has a tidy, workshopped feel, and the dialogue and acting can be gratingly flat. But what gives the film a certain confidence is its cultural specificity and the fresh clashes and contrasts it presents.

The behind-the-scenes component, juiced with razzle-dazzle excerpts from the “Fela!” production, is sound, in theory. But — like many sequences — it’s not so tightly executed, and this strand tends to knock the documentary off balance.

Mr. Cheney’s movie, while teasing at times, does its celebrating and debunking in mild-mannered fashion, making points without seeming to try to score them.

The bare facts of the feat seize the imagination, even if Ms. Tobias’s competent documentary doesn’t quite rise to the challenge.

More reminiscent of public television than of cinema, this rather humbly wrought movie makes no claim to being comprehensive in recalling a scary time.

The perspective — while producing something eminently watchable — may strike some viewers as old-fashioned and incomplete.

Impressively, nearly everything was shot by the documentary’s subjects. Yet although their double duty is an awful fact of life in Ukraine, the film lurches between its varying components and tones.

The documentary tends to linger on some assertions about sexuality in Lincoln’s era while papering over others. But the general effort of bringing to light (and potentially to history books) an underrepresented part of American experience remains vital beyond defining Lincoln’s identity.

Stories of humanized hit men make for a small but well-trod patch of screenwriting terrain, but The Dead Man and Being Happy quickly transcends that territory to become a beguiling road movie.

Mr. Chen, who teamed with Mr. Yen for the superior “Bodyguards and Assassins,” scatters references to Hong Kong martial arts classics. But while he has impressive fists of fury in both Mr. Yen and Mr. Wang, Kung Fu Killer lacks the brio and spice of its ancestors.

Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.

Mr. Miike’s narrative model is essentially the Kool-Aid commercials of the 1980s: Periodically, somebody new bursts into the room or onto the street, and a fight or something bizarre takes place.

It’s an intriguing scenario, though not always played out skillfully. For better and worse, we feel Charlie’s confinement fully, as he watches another’s life go by and yearns for a proper home of his own.

Like most primates, Nénette is both fascinatingly familiar and strange, capable of almost human expressions yet totally unknowable (as well as massive and hairy).

This New York drama in some ways finds new names for age-old insecurities among men and women, though it doesn’t entirely deliver on its promising buildup.

Low Down stumbles into the pitfalls of both addiction narratives and observer-style autobiography, even if Ms. Albany’s memoir suggests even rougher times. But it still catches in-between moments of closeness that aren’t always seen or heard.

Marceau beams with unshakable good vibes, like a lion in the sun, though that makes her woes feel not so woeful. But Azuelos’s film does glimpse moments that feel true to the sometimes strange complexity of emotions.

The sense of an invisible world being revealed is more potent than the film’s fairly standard portrayal of closeted life.