Hal

The greatest tribute to this tribute to Ashby is that this movie will add “Shampoo,” “Coming Home,” “Harold and Maude,” “The Last Detail,” “Being There,” and his other films to at lot of watch lists and Netflix queues.

Hal deals with each of the director's films in a smart, engaging manner. As befits a former editor, director Scott has an ear for the great quote and the skill to make it all flow beautifully, to both entertain and help us understand who Ashby was and what he wanted to do.

Hal is a soft-edged memorial that should direct you, or re-direct you, to some terrific and tough-edged films.

Amy Scott’s affectionate and smart documentary sheds light on an artist obsessed with addressing the injustice and intolerance in this country, but who himself could be the most problematic of men.

Hal has a once-over-lightly quality, but at times it offers a telling window into how the New Hollywood worked.

It’s a consistently engaging trip. Ms. Scott has assembled a nice, fairly well-rounded group to testify on her subject’s behalf, including people who were part of Ashby’s foundational years in Hollywood — most important, the director Norman Jewison.

Though clearly aimed at fans, it presents only a chummy overview of his life and career, too superficial to work as a biography, an in-depth appreciation, or even a primer.