Richard Linklater’s film “Boyhood” reduced Ann Hornaday of the Washington Post to tears because it allowed “viewers into the lives on screen not as specimens to be watched from a safe distance but as resonant, relatable touchstones of our own.” (That “Boyhood” has been almost universally hailed as a masterpiece, despite the banality of its plot and the cliché nature of much of its characterization, is due, in part, to the irresistible emotional power that lies in the harnessing of the passage of time, a passage that takes its toll upon all of us. The movie is the apotheosis of relatability.)