Nicolas Rapold

The film’s director of photography, Matthew Libatique, makes “Pelé” more than an eye-moistening anthem for a built-in global audience.

As more and more perfect shots drift by, the reality of the characters and their relationships dissipates, and we’re left with just picturesque moods.

Despite much talk of diversity and tradition, Mr. Levine has little fresh to say about gentrification issues or documentary storytelling.

Mr. Steiner’s tightly interconnected documentary, with transporting shots, visits people on the margins in the United States.

[A] serviceable but slightly drawn-out documentary.

Ms. Lambert’s film builds nicely, staying in tune with the ordinariness and intimacy explored in Ms. Akerman’s boldly rendered films.

At its sloppy heart, this is meant to be an affirming movie, but the filmmakers could have taken a cue from one line of dialogue: “Don’t just feel special. Be special.”

Mr. Sobel’s film skates past any persuasive sense of motivation.

Many little touches in the film reflect the offbeat hand of Ms. Delpy. But she sells herself short by not giving the mother-son conflict a bit of a sharper edge beyond Lolo’s awfulness.

The cast doesn’t quite succeed in keeping the suspense fresh throughout the story’s left turns.

As written by the TV veteran Robert Carlock, Kim’s rise-and-fade arc is sympathetically rendered, with humor and the urgency of an underhand pitch.

King Georges feels stretched into feature length, but its ending neatly portrays a man with a fierce personal code who seems to have accepted change.

The conclusion would be chilling if it weren’t so reserved. For Denmark, the film, an Oscar nominee in the foreign-language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet.

This reheated “Sex and the City” adventure flops, even with Leslie Mann and Rebel Wilson hard at work being funny.

We’re meant to warm to Hannah and Andrew as they wear each other down with good-natured ribbing. But Ms. Hall and Mr. Sudeikis hardly warm up themselves, showing little chemistry and looking unsure how to play the film’s tone, or the would-be zingers.

The screenplay, by John M. Phillips, is the written equivalent of a toddler discovering curse words. Yet some riffs draw chuckles.

Some of this recalls Stephen Chow’s “Journey to the West,” minus the brilliance.

The multicultural milieu lends an initial boost as Mr. Kwek’s jokes and plot entanglements take potshots at life in Singapore, but all the air seeps out of this attempt at zippy, tabloid-nutty storytelling.

Mr. Takahata’s psychologically acute film, which was based on a manga, seems to grow in impact, too, as the adult Takao comes to a richer understanding of what she wants and how she wants to live.

The baggy 137-minute story drowns out Mr. Feng’s assorted sharp moments with hoary family drama and clumsy plotting, and Li Yifeng is generic as Mr. Six’s son.

Cutaways to nature’s splendor abound: Mists enfold the mountain; Mr. Casanova mesmerizingly holds one cross-fade from these clouds.

It’s both the best children’s animated film this year since “Inside Out” — you might call it “Outside In” — and, unexpectedly, a more stirring depiction of the deadening modern megalopolis than most heal-the-world documentaries.

The brisk clip and dashes of dark humor ward off actual despair, but the length poses challenges for some of the heavy lifting of character growth.

Something is off with Every Thing Will Be Fine. Even for a movie about a writer detached from his emotions, it’s ponderous, like a lucid dream gone bad.

Mr. Corbijn picturesquely frames the back story to the shoot, but his muffled retelling drifts with Dane DeHaan’s murmurous impersonation of Dean and Robert Pattinson’s almost perversely listless turn as Stock.

Mr. Berardini’s packed documentary makes its case early and often, perhaps too often, but it’s more chilling than your average issue film.

The film’s four-person shuffle turns into a bit of a hash.

The ensemble of young actresses is a constantly restless and real presence, the perspective filtered mostly through the cheeky Lale but also through the group as a loving crew.