Ben Croll

Dweck and Kershaw never lose their sense of whimsy, often relaying the film’s sharper jabs with the most pleasure of all.

Much of the film’s chilling information has already surfaced, among other outlets, in newspapers like The Guardian, which serves as a producer here. Instead, Abraham and Szor, two of the four-person team behind the Oscar-winning “No Other Land,” heed their interviewee’s call, laying things out with the same abject candor as their subject.

The film’s extensive use of post-2025 material sears by way of immediacy, turning so-called archival footage into something barely cooled from the present, fresh enough to sting like salt in an open wound.

For all of his anguish, Bill Evans occupied a position of grace. None of that happened by accident, and all came with a tragic cost. To the film’s credit, it allows those contradictions and countervailing forces to linger — imperfectly and awkwardly at times, and later with full force. It’s a riff, played with real skill, lingering on dissonance rather than release. How fitting.

If anything, the film’s greatest fault lies in indecision, in its less-than-successful toggling between two modes it can never quite mesh. Going more satirical or more theatrical might actually bring greater balance, allowing Zeller to more fully explore the career questions lurking beneath his story.

A primal scream set to queasy colors and power chords, “Primetime” will no doubt prove divisive. Railing and wailing against Bush-era hypocrisies with a virtuosic, operatic aggression, it’s the kind of film that either gets you on your feet, howling along, or leaves you flattened and faintly aloof.

The initial thrill of watching something this strange curdles quickly, though, because there’s little underneath.

Little is subtle and nothing is quiet about Danny Boyle’s ink-stained “Oppenheimer,” which is likely appropriate, all things considered.

This is a film of details and detours, digressive above all, cast with non-professionals native to the region. It plays as an ethnographic travelogue, using a potboiler hook for lightly applied narrative structure.

It plays as an oral, musical history, rich in period research and detail, laying out its narrative and thematic concerns early and never really moving beyond them.