‘Dreaming Walls: Inside the Chelsea Hotel’ Review: A Fragmentary and Moody Look into the History of the Famous Hotel [Tribeca]

A compelling, insightful look at the hard and often stagnating process of scientific research and clinical experiments, Lisa Hepner and Guy Mossman’s “The Human Trial” follows two type-1 diabetes patients over the course of several years as they undergo an experimental stem-cell treatment. Informed by Hepner’s personal experience with diabetes — and the hope that San Diego-based biotech ViaCyte may have finally figured out a way to implant insulin-making cells into the body — “The Human Trial” showcases the highs and lows of clinical research with a clear and focused eye towards how progress, when it happens, is often incremental.

“Of Medicine and Miracles” could have been a podcast. It could have been a newspaper feature.

Robert Having his Nipple Pierced.” These days, according to documentary filmmaker Amelie van Elmbt, such boho shenanigans are in short supply. “The sad thing is that all this legacy is somehow fading,” said van Elmbt, co-director of “Dreaming Walls,” a documentary about New York City’s Chelsea Hotel, premiering Friday as part of the Tribeca Film Festival.And some of the hotel’s permanent residents — who total around 50 — are unhappy about an 11-year makeover that turned the onetime headquarters of bohemian living into a sleek tourist attraction“The worst is that the real residents can’t even afford to have a drink in the hotel’s new bar,” van Elmbt told The Post.She is referring to El Quijote, the Spanish restaurant that has been on the ground floor of the 138-year-old Chelsea since 1930, and recently reopened as an upgraded tribute to the original.

“A priest in a pinstripe suit.” That’s how Andrew Kirtzman characterizes Rudy Giuliani early in Jed Rothstein’s “Rudy! A Documusical,” his chronicling of how America’s erstwhile mayor became America’s most embarrassing punchline. Kirtzman, Giuliani’s biographer, makes a reasonable simile.

If there hadn’t been a body count, Chris and Jeff George’s escapades might have made for a divinely trashy TLC reality show. The brothers had gargantuan appetites, a habit of breaking the law without consequences, a flair for exaggeration, and a knack for spending money as fast as it came in on all the things that would keep a certain kind of viewer coming back: strip club visits, firearms, McMansions, and jacked-up trucks.

You can accuse writer/director/star Katie Holmes of doing a lot of things in her sophomore feature “Alone Together,” but you certainly can’t say she doesn’t wear her influences on her sleeve. The picture opens with a throwback jazzy vocal track over shots of the NYC skyline, Central Park, and the Upper West Side; the Nora Ephron vibes are palpable.

White people have stolen music from black people for decades and then some. This is a matter of historical record.

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A standard hagiography that is far less interesting than the subjects it features, “Turn Every Page” aspires to none of the depth and complexity it champions throughout its too-long 112 minutes. A serviceable accounting of both a historian and a historically important editor, the documentary makes a strong case for the importance of both, yet in so doing, demonstrates that these men need no such help.

The movies have given us man-children for decades, dating back to Carl Reiner’s “The Jerk,” leading all the way to a bumper crop of “dudes stuck in arrested development” productions through the 2000s and 2010s: “Cyrus,” “The 40-Year-Old Virgin,” “Knocked Up,” “Adult Beginners,” “The Comedy,” “Step Brothers,” “Jeff Who Lives at Home.” Alex Heller’s feature debut, “The Year Between,” descends from this overdone tradition and leaves a new wrinkle on the formula: Bipolar disorder, a formidable condition characterized by extreme mood swings and thus a clear goldmine for slacker burnout comedy.

B.J. Novak’s feature directorial debut, “Vengeance,” does not begin like you would expect B.J.

A minor but affecting character study about buried family trauma, Clara Stern’s feature-length narrative debut “Breaking the Ice” works well as both a sports drama — focusing on an Austrian minor-league women’s hockey team — and a romantic drama. While perhaps too contained within its protagonist’s point of view, Stern’s film is nevertheless an impressive debut.

Set in the Fall of 2005, Sarah Elizabeth Mintz’s piercing feature debut, “Good Girl Jane,” tracks the grooming of the title character (Rain Spencer), Jane, a young outcast teenage skater enduring an endless summer that nearly undoes her. Jane and her older sister Izzie (Eloisa Huggins) have recently transferred to a new school.

“American Dreamer” is a mess of a movie, in which scenes of startling wit and emotional truth co-exist alongside entire subplots that are utterly inexplicable. It’s all over the damn place; its good ideas in near equal proportion to its bad ones, feeling less like a polished production than a filmed first draft, released as a rough assembly.

Aisha Osagie wakes up early. She bathes and prays.

Ray Romano is a good actor, and seems like a nice guy. These are the two primary takeaways from “Somewhere in Queens,” which the stand-up comedian, character actor, and sitcom star co-wrote, co-produced, directed, and starred in.

“I come from a family of geniuses and criminals,” confesses inventor David Hanson. And it’s not at all apparent if Hanson is the former, or a less pernicious version of the latter.

“The Wizard of Oz” is the all-movie; in my film school days, professors would use King Vidor’s canon cornerstone as a teachable exemplar for just about everything, from the usage of color to the dream-logic of cinema to the mechanisms of Golden Age Hollywood manufacturing. The new documentary “Lynch / Oz” applies this lens as a way of seeing the works of David Lynch with greater clarity and understanding, and in doing so, draws on the seemingly infinite number of angles from which the foundational fantasy can be analyzed.

Netflix has given a green light to Stand Out: The Documentary, a feature-length documentary that examines the history of LGBTQ stand-up comedy, for premiere this year.