Clear-eyed, compassionate and compelling, the documentary “The Price of Freedom” efficiently unpacks and debunks the myths it posits the National Rifle Assn. of America has deployed to further its all-guns-all-the-time agenda and foster a culture war.

Fear Street Part 2: 1978 is no classic, but it’s a clear improvement on “1994,” with more tension and excitement (and generous gore).

Running Against the Wind is purportedly based on real events, and it’s sloppy and sort of random enough to be true.

It’s hard not to feel stirred, even moved, by the sheer improbable fact of this picture’s existence: Moment by moment, you’re held by its loony flights of lyricism and gorgeous images (shot by Caroline Champetier), and by the mix of sincerity, irony and Sondheimian dissonance that animates every sung-through line.

What Gaines does not miss is Gregory’s spirit, and its effect — amusing, bemusing, inspiring — on the world around him.

Pribar’s humane and heartbreaking drama is beautifully photographed and performed; a loving, warm, and even sexy film about death and dying that is teeming with life.

The Tomorrow War tries its hand at throwback ‘90s action glory, back when cinematic adventures could be everything for everybody. Instead, this post-apocalyptic combat flick lacks the intensity to reach the 1.21 gigawatts worth of power needed to emblazon our screens in escapist flair.

Kid Candidate isn’t about winning as much as a reinforcement of the notion that apathy is the death of democracy, a lesson best learned, as Pedigo comes to understand, when you’re young.

Zola’s authorship and Bravo’s respect for her storytelling make Zola a wholly original experience. It’s a brutally honest account of sex work, often dangerous and infrequently sexy, punctuated with Zola’s one-liners, observations and recounting of laugh-out-loud moments.

DeMonaco and Gout cook up such delicious comeuppance that you can’t help but indulge in the pleasure of revenge, even if the terrors and pleasures are incredibly fraught.

The result is a ride that feels smooth and bumpy in all the right places. You are pulled along by the seductive glide of Soderbergh’s filmmaking, by the jazzy riffs of David Holmes’ score and the suavity of the camerawork, only to be jolted into high alertness by the nasty, bloody surprises in Solomon’s script.

It’s more of the same, for better or worse, but likely with enough bells and whistles — especially those new characters — to please younger fans.

The dialogue can be clunky and easy to guess in advance, and there’s an unfortunate reliance on jump scares. The thing to remember is this is all part of a larger story, and without spoiling anything, that story does get significantly more interesting.

Like the young Natasha herself, Black Widow feels as though it’s been programmed into submission — and scarcely allowed to live and breathe before it’s suddenly over.

Though affecting and humbly breathtaking, Sun Children doesn’t bargain in condescending pity.

The film lacks slam-bang, signature action sequences that would make it more memorable.

Its imperfections and its beauties are inextricable from each other, and also from the sad, inspiring real-life story it has to tell.

Fathom presumably gets its name from both the watery depths and the attempt to understand these mysterious aquatic mammals, but it doesn’t delve deeply enough into either the science or the scientists.

Where the documentary succeeds most plangently is in its fan testimonials of the album’s impact and Blige’s emotional recollections of the songs’ roots.

Sisters on Track is a lovely, immersive look into the lives of three Bedford-Stuyvesant, Brooklyn, girls.

Against the Current is a gem. It’s gorgeous in many ways.

What Lin restores in this mostly solid entry (which he co-wrote with Daniel Casey, both stepping in for longtime series screenwriter Chris Morgan) is a sense of emotional continuity.

Lee (who directed episodes of “Broad City”) and Glazer swerve from comedy to horror, using the genre as a vehicle for social commentary about modern motherhood, misogyny and manipulation. False Positive is Glazer’s “Get Out,” which is a phrase you want to scream at her character, Lucy, over and over again.

You may know Thompson as a member of the Roots and as the musical director for “The Tonight Show Starring Jimmy Fallon.” If you’ve read his book, “Mo’ Meta Blues: The World According to Questlove,” you’re aware that he’s also inquisitive and a first-rate music geek, making him the perfect person to crate-dig through the musical and cultural history documented in this film. His respect and enthusiasm for the material jumps off the screen.

A Crime on the Bayou never explodes with fury. But that doesn’t mean you won’t feel enraged while taking in the maddening series of systematic wrongs committed against Sobol and Duncan.

Even in a film that makes no bones about presenting its subject in a flattering, softening light, this 89-year-old stage and screen legend has refreshingly few qualms about saying exactly what she thinks.

What keeps Les Nôtres from being effective, however, is that it rarely makes the transition from coolly observed case study to compellingly messy, resonant human drama.

Credit Wilson and Sheen . . . Nothing that happens in 12 Mighty Orphans is unexpected, but these two pros still react with infectious wonder as the messages they send to their students take root and then sprout.