Pat Padua

Dyrholm, who deservedly took the prize for best actress at last year’s Berlinale for her sensitive performance as Anna, movingly captures the struggles of a middle-aged career woman who revels in the new freedoms of the 1970s, while ultimately falling victim to them.

White Girl vividly charts what is at times a violent culture clash. But it is the young lovers’ desperate attempt to bridge the gap between their worlds that makes the film so deeply moving.

This is a story about people first, but also about the way we see. And the visual hodgepodge of JR’s images reveals very different perspectives that affect the way we treat each other.

At once charming and bittersweet. But the film loses focus a little as it heaps accolades on the late actor.

Director Alison Chernick profiles the violin virtuoso, through his performance, of course, but she also reveals a personality as expressive as his musicianship.

Gleason portrays great strength and great suffering in equal measure, lending vivid credence to tired platitudes about what it means to live life to the fullest.

In Chasing Trane: The John Coltrane Documentary, documentarian John Scheinfeld shows that the music of one of jazz’s most experimental saxophone players still speaks to audiences today.

To its credit, Trophy neither shames its subjects nor offers an easy solution. Rather, it takes a reasoned and thought-provoking view — from many angles — of a problem for which there is, as Trophy argues, no quick or simple fix.

Far from a nostalgic package of greatest hits, “Moonage Daydream” suggests that pop music is at its best when it’s mysterious.

Through the example of friendship and cooperation, The Innocents shines a glimmer of hope on a period of great doubt.

Much of the film’s appeal is from the quiet determination of the patriarch Sung, unflappable under the stress, and the family and community who rally around him.

Although the pacing of the film — written and directed by Scott McGehee and David Siegel (“What Maisie Knew”), from a story co-written with David Spreter — can be as slow as the clouds over Big Sky Country, the flawed young characters grow on you, their troubles gradually becoming as mythic as the landscape that surrounds them.

For the most part, 2nd Chance is right on target. But in the end, its aim isn’t quite true.

The film’s central metaphor — life is like wine — is an overripe one.

Still, the movie has a kind of optimism that is reflected in the new generation of English thespians in its young cast: Imrie is the son of actress Celia Imrie, and Serkis is the son of actor and filmmaker Andy Serkis.

Even if you’re not familiar with the source material, this Chinese production provides plenty of supernatural thrills for the modern young adult.

The Year of the Everlasting Storm doesn’t end with catharsis, but even insects may have something to teach humanity: to endure the best way we can, however minuscule we may feel in the face of an incomprehensible world.

Like Sergio’s unusual modus operandi, Radical takes some time to click, its first half as unstructured as Sergio’s classroom. But at about the halfway point, when the kids discover the excitement of learning, it becomes as thrilling as any blockbuster.

Given its pedigree, Sgt. Stubby takes fewer liberties than some fact-based war movies. Bolstered by an irresistible protagonist, the tear-jerking script by Lanni and Mike Stokey makes up for shortcomings in animation.

“Echo” recalls a fertile era in the history of American pop music. But all too often, it wanders out of the very canyon that defines it.

In some ways, My Friend Dahmer is a typical coming-of-age movie about an awkward teen. What distinguishes this particular case of adolescent angst is that it’s the true story of serial killer Jeffrey Dahmer.

Ultimately, it is, like its conflicted hero, sweet and likable, and you wish it well.

Despite a story line that covers such fraught historical events as 9/11 and the Iraq War, the movie is too tidy to ever really feel like a living, breathing thing.

In the end, The Color Purple manages to find a sweet spot between tragedy and entertainment. But is that really the best way to honor Walker’s vision?

Behind all the gore-splattered walls and domestic rancor lies a sweet-and-sour bedtime story of good triumphing over evil. That said, please leave the kids at home.

Although the central match in Chuck is effective, and hits all the right beats, unlike the best of the “Rocky” movies, the drama outside the ring is less potent than drama inside. This, despite strong performances by Schreiber and — especially — Moss, a grounding presence who summons a toughness not usually seen in her work.

The movie gives some depth to its misfits, and ultimately sends the valuable message that nobody should be ashamed of who they are.

Max Rose seems to come from someplace personal, but its pain feels dialed down a notch to make it easier to digest. Still, the movie gains resonance from its look at what may be the final years of a movie legend.