The exhilarating documentary Sunshine Superman, which melds gorgeous aerial photography of Boenish’s jumps with sublime musical cues, finds in Boenish a kind of poet-adventurer, equal parts pixie and desperado.

This serviceable remake sticks fairly closely and smartly to the same plot, with the same scary objects and even the line, “They’re here.”

Aloft is less like a story than a dream, populated with gorgeous people and symbolism you can interpret any way you like.

Agreeable this film certainly is, but the shagginess never seems to take shape.

A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.

Subtle, sometimes really sad and honest about the struggles of adolescence, Marnie is a worthy last entry from Ghibli before the studio reportedly goes on hiatus.

The film never adds up to the sum of its parts, effectively a two-hour trailer for a movie I’d still be interested in seeing.

Not as aca-mazing as “Pitch Perfect” (which made my 10-best list for 2012), the follow-up should have been cut by 10 or 15 minutes. First-time director Elizabeth Banks (who returns as a snarky announcer) doesn’t have the zippy comic timing of the first film’s helmer, Jason Moore.

Niccol’s film may not be perfect, but it shines a light on a subject many viewers will know vaguely by name — and not much more.

The film fails to represent how singular and influential the late Giger is in popular culture.

The trope of horror-suffused female friendships is a fertile one, but despite a screenwriting credit from the very capable Nicole Holofcener (director of “Enough Said,” among others), Every Secret Thing comes up short.

Slow West certainly lives up to its title: It’s one poky Western, plodding and perambulating and moseying across the 1870 frontier on a grim march to a pointless ending.

Playing a slightly autobiographical role — reinforced by a karaoke sequence that gently nods to “Duets,” the final film directed by Danner’s late real-life husband, Bruce Paltrow, and starring their daughter Gwyneth — Danner shines in scene after scene.

The on-camera experts make intelligent, earnest points, but the Web means there’s no such thing as a real ban. Indeed the movies have always been available, as two former neo-Nazis point out.

A passable French homage to the American crime epic, The Connection has plenty of visual style to go with stock characters.

This spectacularly great reboot is surprisingly owned not by Hardy, who is fine, but by Charlize Theron.

Witherspoon’s charge, Sofía Vergara as a recalcitrant witness in need of police protection, is an adept slapstick comic likewise hamstrung by director Anne Fletcher’s sluggish pacing, which reliably stays with a scene for three beats beyond the punch line.

Ultimately, though, Saint Laurent is beautifully dressed with little substance, which doesn’t do much to subvert a prevailing stereotype about the industry as a whole.

Morgan Freeman and Diane Keaton have unexpectedly great chemistry in this warm and funny comedy.

This is the sort of film that will admittedly make some people uncomfortable, and that’s sort of the point.

Bidding to be the “Terms of Endearment” of zombie movies, Maggie sucks all the life out of an idea that just won’t die.

It’s that priceless dialogue, the bitter ironies, the magnificently skeevy cast of characters and even the overall structure that make The Seven Five “Goodfellas” in blue.

Hamer’s style is what might happen if Ulrich Seidl liked people, with immaculate balance in each shot, but the emotions in focus, as well. 1001 Grams is wise about both grief and the need for romance.

Marie’s Story will feel familiar, which is mostly a tribute to the enduring power of Helen Keller’s biography.

The Spandau Ballet documentary Soul Boys of the Western World has all the kooky clothes, zippy songs and ’80s optimism you could ask for in a film about a group that had only one big US hit (but several in the UK). Why do I find it hard to write the next line? The band wasn’t that great.

Ride sounds a bit like a Lifetime movie, but in Hunt’s capable hands it’s a brisk, funny and touching comedy for boomers.

This is the penultimate film of Albert Maysles, who died on March 5, and Iris has a bit in common with “Grey Gardens,” his masterpiece. Apfel, unlike the Edies of that movie, is sane — so much so that the movie’s main flaw is lack of conflict. Iris’ marriage to Carl, who turned 100 during filming, is incredibly sweet.

Vinterberg aces the metaphor-heavy scene in which Troy demonstrates his swordsmanship for an inexperienced, dazzled Bathsheba.