Stephanie Merry

What starts out trivial gradually turns into a drama about big ideas: mortality and the meaning of life; the value of relationships and the vulnerability they require.

Olivier Assayas’s drama is intriguingly ambiguous and strangely constructed, and there seems to be symbolism lurking in every shot. Yet, despite acting that dazzles and no shortage of artistry, the movie is more fun to ponder than to sit through.

The victims are impossibly brave as they sit for interviews, revisiting the worst moments of their lives. Their stories are the strongest part of the documentary, making up for uneven pacing and some otherwise strange editing choices.

The romantic comedy boasts two winning leads in Jason Sudeikis and Alison Brie, as well as some sweet, funny moments amid the Aaron Sorkin-esque dialogue — courtesy of writer-director Leslye Headland — that’s a little too clever for its own believability.

Cernan is proud of what he accomplished, calling himself the luckiest man in the world for all that he got to see. But he also expresses regret at having done it at the expense of his family.

There are slow bits, as Baumane delves into stories that are less interesting than others. But overall, her family history is rife with complex characters, and she brings them all to life in a loving, if scrutinizing, way.

Results is a smooth transition for Bujalski from the fringes to more commercial work. It’s heartening that he didn’t give up his calling-card observational humor to do it.

In an effort to make Fawcett a logical, upstanding guy, the story never fully convinces us of his obsession with returning to find the lost city.

For all its simplicity, Tracks the movie is a poignant, deeply emotional story.

The movie was nicely shot with flashy graphics to explain the data that does exist. But in the end, this film will persuade only those who already believe.

Like any good Sherlockian case, the stories interweave into a satisfying conclusion. And the cinematic elements fit together as neatly as the plot lines.

Davies is a master of the slow build, lyrically evoking the dreaminess and gravity of his subject and her verse.

The acting, especially by Costa, is first rate. Exuding both a childlike openness and a tendency toward the recklessness of young adulthood, the actress backs up even her character’s most questionable choices with conviction.

The human scale of this story about a very real threat to one Norwegian village makes the movie more tragic and also more chilling.

Starving the Beast is still a worthwhile documentary.

One of the delights of the documentary is hearing Terry tell stories. Watching the movie feels as if you’ve sat down in someone’s living room to hear tales of other legendary jazz musicians, such as Count Basie or Miles Davis.

It’s a lovely tale, even if it’s not quite the Cinderella story you might expect. The documentary also brings up some interesting points about how the Internet — the land of vitriolic trolls — can draw two very different people together to create great art from odds and ends.

A riveting, moving and beautifully animated film.

The whole endeavor runs a high risk of drowning in melodrama. But the movie avoids that pitfall, because nothing about the story or characters is easy or straightforward.

99 Homes isn’t just a straightforward drama. It’s a suspense movie.

Stronger isn’t always easy to watch; Jeff makes bad decisions and life gets messy. But it does feel like a realistic depiction of one man’s life.

What’s most fascinating about Afternoon of a Faun — and what the movie could spend more time delving into — is ballet’s grueling and fleeting nature.

For all the spectacular weirdness, Jodorowsky manages to generate real emotion.

Kids for Cash proves that the abuse was both more nuanced and more tragic than the public understood.

The Punk Singer, like the best documentaries, captures more than just its subject, fascinating though she may be. Anderson manages to capture the feel of an era and the excitement surrounding a fresh feminist voice.

Dark Horse is earnest, sweet and told with sentimentality, featuring shots of horses frolicking in fields set against beautiful string music by Anne Nikitin. Surprisingly, the effect isn’t melodramatic or overbearing, but disarming and endearing.

The movie sometimes dillydallies, but the unhurried rhythms ultimately have a hypnotic effect.

There’s something refreshingly realistic about the director’s approach. The movie has an unhurried pace, letting the camera linger over long conversations.