Audiences who care more about how a film makes them feel than if it fully works will be rewarded. But those who need more will find that Discreet lives up to its name a bit too well, never fully offering answers to all the questions it asks.

Spotty acting and casting, many thinly drawn or over-the-top characters, weak stabs at humor, and some awkward editing and dialogue further undermine this well-intentioned effort.

The film probes that tricky-to-reconcile bridge between honoring the fallen and moving forward.

Every minute of this film is absolutely mesmerizing. It’s as if the stars are commanding the audience’s attention, knowing they may never get this kind of showcase again.

Sollers Point boasts a cool, classically observational tone marked by Sabier Kirchner’s invitingly elegant cinematography that eschews the vogue for artificial shaky-cam edginess, and the naturalistic detail of a lived-in neighborhood populated by at least a dozen instantly memorable characters — by turns stressed, satisfied, curious, weird and sad — just doing their thing.

Unfortunately, while its intentions are as pure as the heart of its heroine, the biography offers little depth or insight into Yadvi. She is presented more as a flawless saint than a human princess in this drama mired in poor narrative structure and few details.

At its best, That Summer proves an effective time capsule aimed squarely at Beale devotees, adding light and context to the saga of this endlessly baffling and singularly captivating mother-daughter duo.

With its gorgeous photography, charismatic participants and unabashed love for discovery, The Most Unknown feels like a science documentary cross-fertilized with that sentimental old Coke commercial — the smartest among us holding hands across the globe, charting our universe in happy harmony.

This high-concept tale works because of the two leads' charisma and chemistry. Tong is a star, and the role asks her to display her full range. Lei makes a great unlikely romantic hero.

Ultimately, this is a memorable look at our desire to love and feel safe, to connect and belong — and the unexpected ways in which families can reshape and grow.

How to Talk to Girls at Parties is an aimless, sweet-souled jumble. Its ebullience is palpable, if rarely infectious.

The film celebrates Mary Shelley for the trailblazing woman that she is, but hews far too close to convention to truly represent her life.

Awe-inspiring visuals and equally stirring orchestrations combine to fittingly majestic effect in Mountain, a unique portrait of mankind's enduring fascination with the world's most formidable summits.

While the film features strong performances and good direction, it's still way too rote. A bunch of kids head into the forest and meet a monster. What happens next is just a matter of connecting the dots.

It's a rare delight to spend so much time with the inimitable André. This revealing documentary shows the playful, loving and vulnerable side to this towering figure of taste.

The film is impressive as a star vehicle, if a bit rickety as an action picture.

Though the script relies on gross-out body humor more often than it needs to, it manages to be deeper and more resonant than most girls gone wild comedies. A truly enjoyable trip.

Exquisite and ferocious.

A tender ensemble piece whose skillful performances dovetail into a perfectly symphonic whole, Shoplifters is a work of such emotional delicacy and formal modesty that you're barely prepared when the full force of what it's doing suddenly knocks you sideways.

To call the movie a mess would be to state the obvious and perhaps miss the point. The movie’s sense of moment-to-moment chaos — madcap scenes of bellowing, falling, tumbling and general agitating — is scarcely accidental. It is, on the contrary, very deliberately achieved.

What's bracing about Sorry Angel is that it refuses to allow the specificity of its characters — specifically drawn and superbly played — to be obscured or flattened by the drama of terminal illness. Neither man is made nicer or more palatable than he has to be.

Burning is a character study that morphs, with masterly patience, subtlety and nary a single wasted minute, into a teasing mystery and eventually a full-blown thriller.

A sense of disorientation is a wholly appropriate response to a movie in which the past is both irretrievable and unshakable. But even at its most openly baffling, “Long Day’s Journey Into Night” never loses its seductive pull.

For a movie about a fleeting moment, it leaves a surprisingly resilient ache.

It all plays out a bit randomly, but the leapfrogged plot points, thin characters and blunt messaging in Max Botkin and Marc Hyman's peppy script prove forgivable, given how this nicely modulated film largely avoids the hyper-aggressive jokiness and desperate stabs at relevance that often plague kidpics.

On Chesil Beach is a beautifully made film that is as difficult to write about as it is to watch, and it is inescapably hard to watch. Yet the reasons it is difficult — a completely heartbreaking story brought to exquisite life via immaculate writing, directing and acting — are why it's worth putting up with the pain.

It is an exquisite piece of filmmaking and also a blunt, pulpy instrument, a despairing, fully sustained howl of a movie that is easily this director's finest work in years.

As a portrait of a man who surrendered his career and much of his life to the service of a master, Filmworker proves compelling, particularly for those with a passing interest in Kubrick.