Peter Keough

Aside from the clever punning of the title, Spare Parts ends up as jury-rigged and programmatic as Stinky, the robot in the movie. And, unlike Stinky, it is dead in the water.

True, a lot of marmalade gets spread around, and at times the zaniness gets a bit too slap-sticky, but it’s all good clean fun.

His (Hawke) subtle performance also draws attention away from the creaky plot machinery, as does the Spierig brothers’ eye for the seemingly throwaway but pregnant detail.

It’s a self-reflexive tour de force, laugh-out-loud in its outrageousness, a true gift from the Movie God, who, if not Tarantino, is in this case probably Sam Peckinpah. You just have to endure 90 minutes of inanity to get to enjoy it.

It’s just like the Kenny Rogers song says: “You’ve got to know when to hold ’em, know when to fold ’em.” It’s time for this Gambler to walk away.

As for the performances, only homely Giovana has heart and depth. The two boys lack chemistry, even in chemistry class, due in part to the trite dialogue, or at least as it is translated in subtitles.

Talya Lavie’s Zero Motivation has more substance than a sitcom, even though it’s broken down into three TV series-like episodes. But it’s no “M*A*S*H” — a film to which some have compared it — either.

Powell never achieves the absurdist, uncanny poetry of that scene in Herzog’s film where a “demented” penguin marches into oblivion, but he does arouse wonder at nature’s sublimity.

Like the children’s films of Iranian directors Abbas Kiarostami and Jafar Panahi, Bad Hair explores such social pathology, in part, in the guise of a kids’ movie. But it also takes on the intensity of more pointed films such as “Bicycle Thieves” (1948) and even Hector Babenco’s sensationalistic “Pixote” (1981).

It is a delight for flamenco fans and provides a fascinating introduction for those unfamiliar with the music. But as cinema, despite the lush cinematography of Vittorio Storaro, it is lacking.

Despite his neuroses, VanDyke displays self-awareness and humility, and a charisma that ranges from the goofiness of Owen Wilson to the grandiosity of his hero, Lawrence of Arabia.

Humorless, pretentious black-and-white tone poem about a very young Abe Lincoln.

Those looking for further enlightenment might want to pass on the feel-good cinematic hagiography known as Awake: The Life of Yogananda.

The fundamental value put forth in Brown’s “Sunday” sequel is not fearlessness but “family.”

Through patience, skill, discretion, and trust, Jesse Moss has taken a seemingly small town story and turned it into both a microcosm of today’s most urgent issues and a portrait of a single suffering soul.

In person, as seen in Fifi Howls From Happiness, Mitra Farahani’s ambitious and self-reflexive documentary of the artist’s last days, Mohassess enthusiastically acts out those traits. It’s a performance enhanced by his diabolical, phlegm-choked laughter at his own bleakly ironic pronouncements and denunciations of the world in general.

Directed by splat-pack director Alexandre Aja (“Piranha 3D”) with uncharacteristic but still gruesome restraint, adapted from what seems a very busy novel by Joe Hill, Horns resembles an awkward collaboration between Nathaniel Hawthorne, Stephen King, and Rob Zombie.

The small Indonesian island of Bali still evokes images of a tropical paradise where Westerners can escape the discontents of the so-called developed world. Much of that romance lingers in Bitter Honey.

Unlike other films that successfully explore abstractions, such as Wong Kar Wai’s “In the Mood for Love” or the memoiristic collages of Terence Davies, it doesn’t seem to have much going on beneath the drab surface.

Isn’t fate a funny thing? Especially when Nicholas Sparks makes it up. Filmmakers love to adapt his stuff because he puts together narratives riddled with contrived coincidences and implausibilities meant to seem like the workings of providence when in fact they are the creations of a hackneyed mind.

Though engrossing and aesthetically admirable, at times the humorless artiness verges on absurdity. It’s hard to take a film too seriously when plum jam and Bach’s “Chaconne” vie for equal cinematic significance.

Things bottom out when Zoe not only hooks up with another lover (there is not an ounce of body fat in this movie), but also misses her son’s soccer game. And up until then we were all having a good time.

David Frankel’s film reduces an extraordinary life to a predictable template of bullying, resolve, success, disappointment, and platitudes — a pattern repeated two or three times until the genuinely moving finale.

By the movie’s end, viewers will have had a soul-searing brush with the unthinkable that far exceeds any real horror film of recent memory, and surpasses in its impact more traditional features and documentaries about the subject.

Though it features a plucky female protagonist, Annabelle still possesses the same medieval attitude toward women as “The Conjuring,” reducing the gender to the extremes of self-sacrificing mother and malevolent toy.

When it comes to writing and directing movies, though, Murdoch has some work to do. “Girl” meanders narratively and with random chronology, some scenes playing like tepid music videos, others as unhelpful efforts at exposition, some as strained drama, and some as the genuine, funny, spontaneous interactions of gifted young people.

Add to those John Curran’s adaptation of Robyn Davidson’s autobiographical book “Tracks.” In it he presents a vision of nature that shimmers with uncanny beauty and eerie solitude, transcended by Mia Wasikowska in one of the best performances of the year.

Signe Baumane opens her sardonically hilarious, sneakily moving, autobiographical animated feature, Rocks in My Pocket, with what looks like a darker version of one of those chipper psycho-pharmaceutical ads.

Though not everyone agrees, Ben Stiller’s “The Secret Life of Walter Mitty” came close to finding the secret for making a movie about the secret of happiness. Peter Chelsom’s Hector and the Search for Happiness tries hard, but fails. Miserably.

Flawed as it is, “River” reminds us where all the great music came from.

It takes a personal rather than a political perspective, exploring the ambiguities of truth and individual identity rather than the complexities of an ongoing historical calamity. And though the human drama is hypnotically gripping, it comes at the expense of the bigger picture.

It’s like a Parisian variation on Nicole Holofcener’s “Please Give,” or the premise of another PBS Masterpiece Theater series with Smith.

Despite the artful, passionate performances by the cast, his experiment comes across more as contrivance than a work of thoughtful, aesthetic detachment.

Stunningly insipid and pretentious.

The performances ratchet up to giddy near-hysteria, as Hilde toys with Solness’s randiness and repressed memory.

Thunder falls into the common mistake of many children’s films — it underestimates its audience.

Maybe not entirely depersonalized, however. Hogg has a point of view and a point to make, cryptic though they may be.

Though it touches on the usual themes of youthful innocence and imagination challenged by misfortune, and on occasion achieves moments of supremely subtle, sublimely exquisite detail, “Momo” strains when it comes to evoking whimsy and magic.

Like other offbeat and original efforts such as Spike Jonze’s “Her,” Jonathan Glazer’s “Under the Skin,” and Richard Ayaode’s dour “The Double,” it juggles genres, reverses expectations, and resorts to fantasy in order to explore the enigmas of gender, identity, and love.

Some might find the dual conclusions too blunt in their irony, but “Norte” does not try to be consoling. Crazy as Fabian’s ideas seem, they might be the ones that prevail.

Sadly, the film rapidly devolves into an AARP version of a Jason Bourne-like vendetta, only bloodier and less meaningful.

The government, even under the new, more moderate leadership of President Hassan Rouhani, has reason for concern. Unlike Rasoulof and Panahi’s previous, more metaphorical films, this one confronts its subject head-on with unflinching candor.

Huppert’s amazing performance not only masters the physical rigors and deformations of her character, but more importantly captures her cold capriciousness and the enigmatic innocence that one of Maud’s friend’s labels “perverse.”

Violette demonstrates how suffering produces great art, and that the artist isn’t the only one who suffers for it.

Though at times Siddharth can resemble a well-photographed report on India’s social and economic ills, Mehta subtly employs different styles to sustain the poetry, poignancy, and drama.

A mawkish, preposterous melodrama riddled with clichés, stereotypes, bad dialogue, and inept emotional manipulation.

The opening and closing scenes of this film evoke those in “Crimson Gold.” They are long shots of the outside as seen through a security gate. In “Crimson Gold,” the view is of a chaotic street in Tehran. Here, it is the empty sea. This difference demonstrates what Panahi has been deprived of, and what the world has lost because of it.

Bizarre, fascinating, and frustrating documentary.

Unfortunately, this is one movie about food that I’m forgetting already.

For the most part, Fluffy’s material is just that — fluff, with a touch now and then of bile and bad taste.

Usually a French comedy such as this requires some crude modifications before a studio like Touchstone can remake it for American audiences. In this case, though, they just need to lose the subtitles and dub in the voices of actors like Rob Schneider or Adam Sandler. Until then, bon appetit!

Code Black shows the passion, frustration, and skill of those who work to heal despite the system, but it remains in the dark about why that system is broken and how it can be fixed.

Unfortunately, though, Rossato-Bennett and Cohen seem to think that the technique is a panacea. In fact, it is not even original, as music therapy in nursing homes has been around for some time.

Based on her short film, Candler’s Hellion pads its slender, commonplace, but potentially rewarding premise with contrivances, clichés, repetitiousness, and, when all else fails, implausible, arbitrary melodrama.

Frustratingly elusive and seductively louche, Lespert’s “Yves” probes a cryptic myth and a fragile soul, penetrating neither, but conjuring up a taste of Saint Laurent’s suffering, genius and style.

What follows is no “Citizen Kane,” or even “Velvet Goldmine” (1998), Todd Haynes’s arty tale of a reporter trying to track down a missing glam rock star, in which Collette also starred, playing the missing man’s alcoholic wife.

So where does that leave this coming-of-age comedy written and directed by Jan Ole Gerster? Somewhere in the middle, lukewarm and inoffensive, trying hard not to be plebeian or pretentious.

Though Derrickson offers some new twists on old tricks, and evokes a mood of menace with rainy streets, gloomy interiors, and the transformation of comforting everyday objects into something horrible, the story soon devolves into variations of many movies we have seen before.

Despite the climactic hugs all around and spiritual healing celebrated by a tearful service in the cathedral, some moments en route make an impression.

Filmmaker Joe Berlinger isn’t so much inspired as disgusted by the notorious gangster in his newest documentary.

One thing you have to give Bay credit for: He has a knack for bringing A-list talent down to his level. Like Mark Wahlberg, Oscar nominee for “The Fighter” and “The Departed.”

Charming, but not seductive.

In other words, Citizen Koch is preaching to the choir. Which might not be a pointless exercise, seeing how the choir failed to show up for the last midterm election in 2010, and might need extra motivation not to repeat that mistake this November.

Think Like a Man Too vastly surpasses the septic “The Hangover Part III.” If Story and company keep thinking like filmmakers, maybe three will be the charm.

Including the high expectations set up by the film’s early going, Eubank had a thoughtful thriller in the works but along the way he got his signals crossed.

West’s film differs from the “Blair Witch” template in that the footage is never actually “found.”

Though at times it threatens to become too generic to be original, or too original to be generic, it retains enough indirection to frustrate those looking for thrills and to engage those willing to be challenged. And by the time the bottom drops out in a characteristically enigmatic ending, Night Moves distinguishes itself as a genuine Reichardt movie.

Puzzle is neither puzzling nor much fun. It reminds you how much better Julie Delpy told the same story in “2 Days in New York.”

Compared to his previous films, The Dance of Reality offers a nearly coherent narrative and a gentle, reconciliatory tone.

The characters look as if they’d be more comfortable with intertitles than spoken dialogue. And the faces — Marion Cotillard as Ewa, the beleaguered Polish immigrant of the title, holds a close-up as well as Lillian Gish or Louise Brooks.

Presents enough teasing glimpses into the dancer’s personal and inner life to demand a fuller picture.

Belle has the pace and sumptuous cinematography of a Merchant and Ivory production, but none of their memorable characters, subtle performances, or literate dialogue.

Like “An Inconvenient Truth” (2006), the Oscar-winning film about climate change, it is a call to action. As a screed, it builds a credible, engaging argument, presenting evidence, statistics, talking-head testimony, whimsical charts, poignant personal stories, and animated illustrations of digestive processes to make its case.

The Quiet Ones simply has nothing to say.

“So how are you going to get them to dance together?” Dancing never explains how. Instead, as in similar films such as “Hoop Dreams,” it focuses on the contest, reducing the participants to a handful of representative kids who end up learning something about themselves and others.

Does not sink to the bathos of Roberto Benigni’s Oscar-winning film (“Life Is Beautiful”), but it does reduce a period of irredeemable horror to the heroics of a single person.

A fresh perspective on one of the world’s longest conflicts.

Strauch’s orotund prose sounds much like that of Werner Herzog, but without the irony. Herzog’s sensibility is missed here; he could have made a masterpiece about the absurdity of these deluded seekers of Eden.

Despite the seeming inevitability of tragedy and despair, In Bloom remains true to its title. Though political and personal upheaval threatens to overwhelm them, Eka and Natia’s clarity and courage resist the ignorance, injustice, and rage all around.

Joe is one more in the line of Southern Gothic miserabilism that includes “Winter’s Bone” and “Beasts of the Southern Wild,” films that many have praised but some find condescending.

Entertaining if inconsequential gangster farce.

At its best, it delves into the murky areas of memory, childhood trauma, and family conflict. But it forgoes such troubling issues for mumbo jumbo and glowing-eyed wraiths.

It’s a big deal for the NFL and ESPN, no doubt, and Draft Day serves as 110 minutes of product placement for both.

His film aspires to a poetry about barbarism that will not let us forget.

Plays more like an exercise in nostalgia than a dramatic re-creation of a triumphant fight for civil rights.

A key point, though, is that all the scientists profiled have staked their careers on this one discovery.

Though Mira shows skill at evoking mood and building tension despite the constrained circumstances of the premise, the narrative quickly and embarrassingly breaks down.

Misogynistic, homophobic, scatological — none of these words come up in any of the spelling bees that take place in Jason Bateman’s directorial debut, but they apply to the film.

Visitors is lovely, soothing, like the cinematic equivalent of tasteful elevator music, but it doesn’t convey as much truth as a single glimpse into Triska’s eyes.

One hopes that, for their own good, when any of these actors are offered a script like this again, they’ll have the sense to just say no.

Of all the great monster mothers in cinema history, Cornelia Keneres (Luminita Gheorghiu, who sets the standard other performances should be judged by this year) ranks high on the list.

A taut, expertly constructed, and suspenseful police procedural, it also explores the issues of loyalty, trust, betrayal, and revenge that those engaged in such morally ambiguous if essential activities would prefer not to think about.

For the most part, though, the film maintains its low ambitions; it is mostly inoffensive, only occasionally ludicrous, and at times, at least for me, genuinely moving.

Fatal Assistance has few answers, and adds little clarity.

What Stranger by the Lake lacks in suspense and back story it makes up for in atmosphere: It’s a subtle exercise in the pathetic fallacy.

That’s the key to this movie — the way Thérèse looks at things; it’s a rare film that focuses on a woman actually looking and how she responds to what she sees.

A bittersweet musing about the nature of parenthood and about the conflict between nature and nurture, it is as banal and insightful as its title.

Though Zefferelli’s version was trashy and downright nuts, at least it made you feel the love. This pallid replay just seems endless.

Despite such attractions as Gabriel Byrne as a vampire with a skin disease and a décor that combines Hogwarts with “Suspiria,” the only lesson learned here is that Hollywood needs fresh blood.

As for the dialogue, although the characters talk really fast, swear a lot, and overlap their lines, what they’re saying isn’t very funny or authentic. It’s as if David Mamet collaborated on writing an episode of “Two and a Half Men.”

Gimme Shelter is sometimes moving and inspiring, but you have to wonder: Though Kathy and her movement give teenagers shelter, do they give them a life?

What I found more disturbing was the casual misogyny of the convoluted story line.

The quest ends in a surprise Capra-esque resolution, which both satisfies and cloys.

Writer-director Zach Clark doesn’t rise much above that level of subtlety in his lampoon of the phony goodwill and soulless commercialism of the Yuletide season. Luckily, he has a cast that elevates the puerility into genuine pathos and absurdity.

It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.

Last Days aspires to the kind of no-frills, psychological terror of Duncan Jones’s brilliant “Moon” (2009) but, despite some determined performances, settles for the clichés of the abortive “Apollo 18” (2011).

The observations coalesce into a cogent whole, providing insights that are never overtly stated.

Though fitfully entertaining, it lacks the conviction and urgency present in even the weakest of his quasi agit-prop productions.

The result is an extended home movie that is also a sociological experiment.

Despite the music, and no matter how the film’s editors slice it, the attempt to get a rise out of the audience by way of the endangered child device verges on emotional pornography.

All in all, maybe the best 90 minutes of romantic comedy in theaters this fall. Unfortunately, the film is 122 minutes long.

So here’s a tip: Don’t desert this film before giving it a chance. You might not want seconds, but eventually it dishes up a satisfying slice of life.

With his thoughtful exploration of the conflict between desire and responsibility, and his self-reflexive exploration of the themes of voyeurism, ambition, and personal identity, Reeves’s debut shows signs of a talented filmmaker.

In his eloquent, evenhanded, and meticulously constructed debut documentary, Jason Osder stirs the ashes of this tragedy and sheds new heat and light on such timely issues as the abuse of authority and the violation of the rights of citizens, especially the marginalized and powerless.

In the war between zombies and vampires for the domination of American popular culture, the zombies currently seem to have the edge. So suggests a montage in Rob Kuhns’s amusing but perfunctory documentary about the origins of the 1968 ur-text of zombiedom, George Romero’s “Night of the Living Dead.”

Somewhere between John Cassavetes’s “Husbands” (1970) and “The Hangover” (2009) you will find Last Vegas. Not necessarily a bad place to be, except the film unfortunately has the madcap hilarity of the former and the emotional intensity of the latter.

It comes down to this: Which is more important, the innocence of a child or the survival of the species? And if the race survives, will it just become like the enemy aliens that must be destroyed to do so?

It’s the kind of outrageous comedy that you might even take your folks to, though probably not your kids. Say what you will about Harmony Korine and his demented geriatrics, at least they take their trash seriously.

This movie doesn’t make the case. In fact, had they upped the absurdity a notch, it would rival the comedy of Christopher Guest’s let’s-put-on-a-show mockumentary, “Waiting for Guffman” (1996). As it stands, it plays like an infomercial.

This sounds like it could be austere and schematic, but the affecting, authentic performances from the first-time actors make these characters thoroughly authentic.

Despite moments of black comedy and some memorable images, this “debut’’ doesn’t offer a lot to love.

A grade A, meat-and-potatoes genre flick.

Escape From Tomorrow, Moore’s sometimes surreal, sometimes sophomoric, black comic phantasmagoria, makes for a bumpy theme park ride.

Not your everyday dilemma, but as depicted in this lushly detailed and passionately performed melodrama, the mores and traditions of this sequestered, seldom depicted group take on a broader relevance.

The world of cinema is richer for the voice of Al Mansour; she speaks for the women of her country, and for people everywhere.

“You don’t need a man to define you!” Very true, and so much for feminism. The rest of the film takes a long, convoluted, predictable, and mostly unfunny route to prove that the opposite is the case.

Another problem with “Inequality” is that it offers nothing new or surprising.

In lieu of suspense, Rosenthal relies on a mood of free-floating anxiety, enhanced by West Virginia (actually British Columbia) landscapes where the sun never shines. As one-note as the title suggests, A Single Shot misfires.

Despite hard-working performances and the occasional sexual frisson from ingénue Déborah François (a kind of French Renée Zellweger) and seductive Romain Duris (who looks like Tom Hanks by way of Montgomery Clift), Populaire hits mostly wrong keys.

In a year when black filmmaking has surged with Oscar-touted films such as “The Butler” and the upcoming “12 Years a Slave,” Murray’s Things Never Said has a quiet eloquence of its own.

Not known for subtlety, Besson gets the expected laughs, and then some. He also exercises an unwonted finesse, not only with the allusions, but also with variations on the “f” word that, if not poetic, are at least funny.

The story gets both complicated and predictable.

As a five-minute sketch it would have been so-so. But as a 93-minute slog through witless puerility, it seems like an eternity in hell, baby.

Unfortunately, Hatley chooses not to offer much context or background history regarding that or other aspects of Helm’s half-century career, other than archival footage of Helm and the Band in their prime, press clippings, and comments from the Band “biographer,” Barney Hoskyns.

Who knows what they’re fighting about, but given the ecstatic ballet of fists and water, tossed bodies and smashed decor, centered by Leung’s majestic impassivity, it doesn’t really matter.

Imagination is what these filmmakers could use more of, as their ingenious concept doesn’t develop much beyond a gimmick.

The film looks great, boasting all the elegant period details that are expected in tasteful French adaptations of treasured national literature, with beautifully photographed Bordeaux landscapes and luxurious interiors. As for the human element, however, the mood is more apathetic than tragic.

In this alternately whimsical and grim documentary, Zachary Heinzerling relates the couple’s down-and-out, inspiring saga, which slyly comments on the evolution and ironies of the past half century in contemporary art.

Like [The Purge and The Conjuring], Adam Wingard’s sly, diabolical, and oddly moral You’re Next draws on the home invasion/haunted house scenario, but outclasses them with its wit, irony, and technically proficient terror.

Though director Ziad Doueiri’s uneven treatment of this provocative premise suffers from contrivance and implausibility, it nonetheless arouses profound questions about fanaticism, cultural identity, and the essential mystery of other people, even those we think we know best.

If one were to compare this film to one of Jobs’s own products, it would be more like the Cube than the iPod.

In addition to being very funny, In a World . . . also makes a case for women to be, well, heard. But in terms of cohesion and narrative, it doesn’t quite come together as a movie.

Though Mazer’s ambition is laudable, he has not yet integrated the comedy of manners into the comedy of no manners.

Epstein and Friedman may have the best of intentions, but in the end they’re exploiting Lovelace, too.

As remorseless in style as it is in message, In the Fog offers little hope and few pleasures, but earns admiration for its elegant exploration of the lowest depths of the human condition.

Silva doesn’t resort to any fancy tricks to depict his characters’ inner experiences. But something happens nonetheless, a bonding of sorts that is almost, if not quite, convincing.

Although Raymond’s career extended over five decades of London sleaze, decadence, and celebrity, neither director nor actor provide much insight into the man or his times, not to mention the significance of Raymond’s prime product.

Though admirable in ambition, McGowan’s decision to broaden his simple story’s scope diminishes an affecting melodrama about the increasingly common, insufficiently acknowledged plagues of dementia and Alzheimer’s disease.

Bernstein communicates Ungerer’s manic spirit and his irrepressible creativity by punctuating the conventions of talking-head interviews and archival footage with animated snippets of Ungerer’s thousands of illustrations.

In the end Death triumphs, but its allure and obsession remain a mystery.

Grown Ups 2 offers a bittersweet paean to childhood and youth and their inevitable loss. Take the case of Adam Sandler. Didn’t he use to be funny?

Though overloaded with narration, “Honey” triumphs visually, with stunning shots of bees in flight, tracked in slow motion, “Winged Migration”-style, by who-knows-what technical wizardry.

A film that ultimately says more about banality than evil.

What might have proven an illuminating perspective on familiar issues disappoints as Bouchareb fails to turn his outsider’s point of view into new insights, and instead takes the easy route, falling back on familiar stereotypes in his tour of US misogyny and xenophobia.

Few comedians talk so much to get a laugh, and sometimes the strain shows... And the directors don’t do him any favors by the annoyingly frequent close-ups of audience members in convulsions of laughter.

This remake, like Frank’s horrible hobby, remains an exercise in empty repetition.

[Terence Stamp] and Vanessa Redgrave, as well as supporting actors Christopher Eccleston and Gemma Arterton, raise Paul Andrew Williams’s entry in the golden age genre from mawkish to genuinely heartwarming.

Intentionally or not, Roland Emmerich’s White House Down is the comedy hit of the summer. No other film equals its comic sophistication. Each nutty scenario is surpassed by the next, ludicrous story lines coalesce with expert orchestration, and absurd details return with perfect timing to build to a crescendo of hilarity.

Though “Berberian” bogs down a bit in its infernal spiral, Strickland proves himself to be a rising talent — a master of sound and fury both.

Burshtein has achieved a gripping film without victims or villains, an ambiguous tragedy drawing on universal themes of love and loss, self-sacrifice and self-preservation.

The problem with high concepts like this is cooking up a story and characters to go along with it.

It is part Rorschach test and part theme park ride as the filmmakers shoot from the strangest places and from such odd perspectives that much of the film consists of trying to figure out what the heck is going on.

Fascinating but frustrating.

Though offering some chilling twists on the usual conventions, employing wit and restraint where otherwise the filmmakers might have relied on the contents of an abattoir, Aftershock is ultimately predictable in its litany of who lives and who dies, and doesn’t try to be too ironic or self-reflexive about it.

More than just a footnote to a wayward period of cultural history, The Source Family portrays an American type, the transcendent charlatan, a latter-day Gatsby, not of material riches but of the soul.

Despite the derivativeness, Chism shows talent and shrewd instincts in the timing and direction of the comedy — she handles the requisite dinner table disaster scene with aplomb.

An effusive, sad, visually gorgeous, and illuminating portrait of the artist.

Perhaps the elusive, uncanny soundtrack of Tangerine Dream brings this about, or maybe it’s Friedkin’s juxtapositions of close-ups and stark long shots of the tiny trucks lost in jungle or desert landscapes, but Sorcerer eventually seems to be happening someplace not of this world. Not hell, exactly; maybe Limbo.

Just because Rad — who died in 2007 at the age of 70 — wasted 26 years bringing Dangerous Men to the screen doesn’t mean you should waste 80 minutes watching it.

After “Rocco,” Visconti’s style lost the vestiges of naturalism and indulged in rococo artifice and aristocratic splendor.