Rachel Saltz

These mostly silent home movies often have the tug of nostalgia, especially those that show domestic life... But images can be slippery, showing something different from what their creators intended. Even as Mr. Lilti constructs a history...he seems to show its fissures.

The script, written by Mr. Gupta with Parveez Sheikh, has some engaging mysteries and witty payoffs. But the story is stretched too thin, blunting some of its more interesting ideas.

Somm, though an entree into a little-known world, rarely finds a second dimension.

Too often it calls to mind the much better “Delhi Belly,” which had a genuinely madcap script and sharper things to say about being young, urban and Indian.

In a better movie you might play along with contrived plot twists and fake obstacles, but watching I Do, a movie with thin characters and a languorous pace, you find yourself talking back to the screen.

The plot of Aurangzeb is inevitably too complicated, and the themes presented more interestingly than they are wrapped up. But for much of the nearly two-and-a-half-hour running time, it ably weaves Bollywood tropes...with contemporary outrage at the rules of the game.

“Re-emerging” can be pedestrian as filmmaking, though it remains interesting as long as it remains in Nigeria.

May not be fully satisfying as a documentary. But it has what any good movie needs: a star — the ever-game soprano Natalie Dessay.

Brian Herzlinger’s How Sweet It Is, an ode to the healing powers of musical theater, misfires so badly at the beginning that it takes a while to notice when it goes from godawful to sweetly awful.

The film needs an injection of Bollywood’s unembarrassed, anything-goes, bigger-than-life spirit, which embraces willy-nilly — as does Mr. Rushdie’s novel — the vulgar, the fanciful and the frankly unbelievable.

It’s a remarkable story, even if The Revolutionary, a no-frills documentary drawn from five years of interviews, isn’t much of a movie.

Himmatwala feels timid and overeager. Except when it’s terrible.

Mr. Mortensen keeps you watching, even when the movie’s storytelling underwhelms. But Everybody Has a Plan is less about story than about texture and atmosphere. They stay with you, as does the haunted visage of Agustín, drifting on the delta waters.

Leonie Gilmour was almost certainly unusual and unusually self-reliant. Too bad that the film that bears her name ultimately reduces her to the mother of her child.

As a director, Mr. Dolan has a freewheeling style, and he’s self-dramatizing enough to want to call attention to it without being too much of a visual show-off.

The most interesting thing to watch in I, Me aur Main, the directorial debut of Kapil Sharma (his father, Rakesh Sharma, was the first Indian in space), is the changing moral landscape.

The interviews are mostly good and instructive, but the well-chosen historical footage is better.

If only Red Flag were funnier and tighter and had a sharper idea about what it means to blur the lines between self-interrogation and self-absorption. As it is, the movie throws off too few sparks.

It’s dragged down by non-scene after non-scene, and filmmaking choices that don’t earn their keep.

Ambitious but uneven, Kai Po Che (based on Chetan Bhagat’s novel “The Three Mistakes of My Life”) mixes, not quite successfully, traditional Bollywood storytelling with something less conventional.

Race 2, directed by Abbas-Mastan, has little to offer besides its loving gaze at wealth and flesh.

A mix of gently outraged populism and low-powered romantic comedy, Vishal Bhardwaj's Matru ki Bijlee ka Mandola might have been better with a chunk lopped off its two-and-a-half-hour runtime.

The reunion of Ms. Caplan and Mr. Starr, cast mates on Starz network's "Party Down," seemed intriguing. That series, though, with all the fizz and social comedy that this movie lacks, was a better showcase for them.

It's very much a Hindi film, but updated and delivered with conviction and style.

By keeping its focus admirably tight, the sober and sobering Israeli documentary The Law in These Parts presents a devastating case against the occupation of the West Bank and the Gaza Strip.

Aging is probably the real theme here, but it's approached sidelong and has no punch. Still, only the nostalgia has any real conviction.

An unpleasant comedy about friendship, aims to be a female twist on the bromance. Crude and knockabout, it nonetheless has - like many a bromance - a sloppy, sentimental heart.

Fast and mostly fun, the movie also seems compulsively too much, throwing everything it can think of at you, lest it fail to entertain.