Invincible

I agree with Roger Ebert’s assessment of Errol Morris’ Gates of Heaven as “bottomless,” with the disclaimer that it’s as much a function of the movie’s open-ended nature as its depth. The filmmaker’s debut has no clearly articulated subject or thesis, and it’s so wide-ranging, with so little guidance from Morris, that its effect and meaning will depend a lot on who watches it and where they are in life. Plus: People I Know and Invincible.