Alissa Wilkinson

So Wild Inside is full of shots of Flaco that one filmmaker could never capture alone. And this gives it the feeling of a group project, a collective tribute to an animal that will always be part of civic lore. Much like New York City, in this movie the whole is much greater, and far more delightful, than the sum of its individual parts.

Nothing can erase the enjoyment of witnessing Holland’s performance, which remains winsome and wonderfully kinetic even if you know that’s got to be a computer-generated Spidey a lot of the time. As he’s grown up onscreen, his audience has grown up with him.

Aris manages to infuse both perspectives, Nino’s and Yasmina’s, into the film, which is funny, even joyous, without discounting the darkness that lives just outside (and sometimes inside) the walls of its characters’ homes.

The Dink has its moments, but they never completely cohere, and the movie struggles to maintain a consistent tone.

The film’s strength is the conversations with the participants about what Oliver meant — both what she meant in her writing, and what she meant to the world.

As the title suggests, Remake is really about McElwee going back over a life captured on film and creating something new from it: an elegy, a gift and something of an apology to his lost son. As such, it’s devastating. As a meditation on memory and the passage of time, it is stunning.

The studio’s so-called “live-action remakes” (elements of which are often just photo-realistically animated retreads) of their classics have tended to insist on literal translation, to an almost perverse degree. Of all of them, “Moana” might be the most pointless, and perhaps not accidentally, the worst.

For the most part, it’s a romp, rhythmically enjoyable and cleverly directed, with subtle flourishes that build out the characters’ quirks and anxieties.

It is the sort of film to which you want to apply the word “visionary,” which is to say that it’s clear the filmmaker had a vision and stuck to it admirably. Nothing in the movie is easy or comforting. Little about it even feels like a gesture toward those enamored of other Robin Hood tales.

Murthy’s story as a child of immigrants is not particularly unique. But her film is engrossing because of the rich tapestry of sources she draws on.