Randy Cordova

The filmmaker's seeming lack of skepticism makes for rough going if you don't buy into Kenyon's vision.

Documented is obviously a bit of advocacy filmmaking, which is fine, but most of the time it's not compelling enough to reach beyond the converted.

Although the visuals are spectacular — a barren Colorado River looks like a landscape from a science-fiction epic — there's not much else here to grab on.

Because the film is unable to settle on a tone, it's hard to get invested in much of anything.

The movie boasts a tricky structure, but director Jonathan Teplitzky ("Burning Man") does an expert job of sewing together the World War II moments with sequences set in the '80s.

The project drips with sincerity, which isn't necessarily a bad thing. What doesn't work is the tin-eared dialogue and the utter lack of momentum, both in the script or the direction by Nikita Zubarev.

The film is nakedly candid, but Stritch is also a ham who is almost always aware of the camera.

If you had to update the film for the Instagram generation, you could do a lot worse than what director Shana Feste (“Country Strong”) has come up with. She has crafted a stylish, evocative journey into overheated-teenager territory. For a good chunk of the time, it works.

The film is based on a popular series of young-adult books (big surprise), but one figures only die-hard fans will enjoy the result. The movie is slow-witted and moves at a glacial pace.

First-time writer-director Tom Gormican keeps the dialogue moving at a rapid pace, which doesn’t obscure the fact that most of what is said is dopey and witless.

Most of the time, it simply coasts along at the level of a typical Lifetime TV movie.

Although it won’t win any points for originality, it is a fast-moving little chiller filled with creepy atmosphere and convincing performances.

The whole thing is a total bore; even the supporting players aren’t motivated enough to attract attention. That’s good news for Lutz; he can’t be blamed for torpedoing the project, because everyone is doing subpar work here.

The whole thing is sentimental corn, which isn’t bad if it’s handled with conviction and sincerity. But the direction by John Stephenson (better known for special effects than directing) is resolutely stiff and hollow. That’s murder for a movie dealing with miracles.

One reason the movie works so well: Writer-director Malcolm D. Lee returns from the original, so the characters feel true to the first film. Secondly, most of the cast is back, and they have the kind of comfortable chemistry you can’t fake. It’s easy to believe these people have a history together.

It feels like a filmmaker’s exercise rather than an involving motion picture. Although you may never be bored with All Is Lost, you are rarely fully engaged.

Nick Ryan’s documentary looks at the disaster by using interviews, actual footage and re-enactments. The latter move undercuts some of the movie’s authenticity. Granted, there probably wasn’t another way to film it, but it muddies the film’s sense of truth.

The movie’s best moments are the small ones.

It’s not that this slight, good-natured comedy is going to set the world on fire. But the movie boasts an understated sweetness, largely fueled by Camil’s movie-star charms.

The movie ultimately winds up falling between two stools, failing as both a biography and an action film. Martial arts fans will naturally be drawn to the story, but the film does nothing to open up the world to outsiders.

A brittle, pompous drama.

The gags are stale, the characters uninvolving and bits meant to titillate don’t.

It’s hard to imagine another comedy coming along this year that is this abrasive and free of laughs. It’s like everyone involved intentionally tried to create a horrible movie.

White House Down aims to be a low-brow slab of mindless summer fun. Most of the time, it comes pretty close to hitting the bull’s eye.

Ultimately, At Any Price isn’t terrible, but you can tell that’s hardly the endorsement the filmmakers were seeking.

The movie is a pretty humdrum affair when it focuses on humans, even when actors are playing characters based on real people.