Directors Sheena M. Joyce and Don Argott could have easily ditched the stagy narrative bits (and behind-the scenes chats with the actors) and relied entirely on the vast amount of fascinating, well-assembled archival footage that, along with recent interviews with the late DeLorean’s children, co-workers, lawyer and other observers, nimbly recount the renegade’s complex, tabloid-ready adult life.

For the Birds is kind to its subject, while recognizing the harm she’s inadvertently doing. Animal hoarding is far more complex than most would imagine, but this film handles it with care.

Smith has crafted a visually and artistically compelling portrait about a distinctive figure in a pivotal and exciting time.

Funan is a stunning piece of animation in which the beauty of the visuals and the horror of the situation are inextricably intertwined.

The Reports on Sarah and Saleem snaps, crackles and pops. A taut and compelling Jerusalem-set melodrama, it effectively intertwines the personal with the political in a way that is only enhanced by that city’s fraught atmosphere and cultural dynamics.

One could imagine a context in which some of this belabored mayhem might be funny, maybe a dinner-theater stage with lots of booze and a strong audience-participation element. Seen from the vantage of your living room, however, the spectacle of Aniston and Sandler bumbling their way through one strained, busy set-piece after another becomes a deflating, even depressing experience.

Plus One might be a romcom squarely from the dude’s point of view, but Erskine is the real breakout star here. She’s raunchy and funny, giving the film a loose, wild feeling in its best moments, though it’s too often predictable in its larger beats.

The quasi-credible friendship that develops between Emily and Harry gives way to a less plausible romance. But the winning, sympathetic Keaton and an enjoyably puckish Gleeson largely sell the contrived setup.

The film is a tough, vital lesson in love, valor and compassion.

You can share Jarmusch’s despair — I certainly do — and still find its expression here too tired, bloodless and self-satisfied by half.

American Woman at once reveals its soft underbelly while landing a surprisingly effective punch to the gut — largely thanks to Miller’s deft performance.

Favored with copious amounts of footage shot during the voyage, as well as Genovés’ collected data and writings, Lindeen forged a riveting and illuminating study of the unscrupulous endeavor.

The film surprises with the amount of genuine emotion it generates with its focus on love, loyalty and what matters most in life, to humans as well as toys.

The plotting is so leaden and the fire fights so pro forma that not even the sight of the three Shafts in action can keep this film from sinking under its own weight. Yes, the great Isaac Hayes music makes an appearance, but the old days are gone and they are not coming back.

Even during the fun moments — and there are a few, if nowhere near enough — you know you’re in the presence of an impostor, a generic blockbuster wannabe in established franchise drag.

If Scorsese’s 2005 Dylan documentary “No Direction Home” was the exhaustive origins portrait that reveals how a man and myth were launched, “Rolling Thunder Revue” is the home movie party that energizes and humanizes while still preserving a counterculture god’s mystique.

A pair of superb performances — from Suzanne Clément as a traumatized pregnant journalist and from Shelley Thompson as a suspiciously solicitous B&B proprietor — can’t overcome an excess of premise in “The Child Remains,” a well-made Canadian gothic horror film that just has too much on its mind.

This is another memorable Doleac effort, true — but it’s more painfully awkward than daring.

Fans of ’80s video-store fare should appreciate Barbarash’s commitment to making something this knowingly trashy. The film is only a modest amount of fun — but fun is fun.

To call this movie harrowing is an understatement. It’s a focused — and perhaps necessary — assault on the senses.

A film that deserves scrutiny for its treatment of its young female protagonist.

Thailand is lovingly shot with an eye for its vibrant colors, and there are some late scenes that show an impressive style from Green. Not everything in the script shows that same care, but this is still an interesting, if not wholly successful first feature from the star.

This banally titled buddy dramedy won’t solve our critical drought of empathy or advance our social justice preoccupations, but it’s a mostly enjoyable drop in the right direction.

The movie’s energy, ebullience, vivid scenery and pizza porn keep us watching, even when it loses its thematic way — which is often.

While it may not put a fresh spin on the sports documentary format, “Loopers” gives the bag-carrying faithful a well-earned moment in the sun.

There’s nothing particularly sophisticated about the filmmaking in Free Trip to Egypt, but first-time feature director Ingrid Serban succeeds in telling a simple story in a simple fashion, and it’s an effectively moving effort.

Being so single-mindedly focused on human suffering, the doc fails to dive deeper into the environmental consequences, the political stances of the countries where these activities occur, or even the intricacies of the Thai judicial system.

A vivid, disturbing and rousing picture of specious government intrusion at its worst.