The Broadway caricaturist Al Hirschfeld, now edging into his mid-90s, is a deserving subject for a documentary; his formidable career, spanning over seven decades in such newspapers as The New York Times and The New York Herald-Tribune, seems barely plausible. Where's the manic-depression, the tortured agonizing over blank white expanses of drawing paper, the endless horn-locking with myopic editors, the lawsuits? As is evident from its punny title, The Line King is no Crumb, opting instead for a blandly reverential style akin to an A&E Biography episode without the narration. But it's worth viewing for its extraordinary subject. Hirschfeld's style is unmistakable: bold, black-and-white line drawings of enormous compositional flair capture the features of their famous subjects with teasing affection and vibrancy (as well as with the word "Nina," his daughter's name, peppered throughout their hair and clothing). Considering that the man grew up in New York not long after the turn of the century, witnessed Vaudeville at its peak, spent time in Hollywood in the 1920s, collaborated with S.J. Perelman, and saw the Broadway of Gershwin and Rogers & Hammerstein, The Line King is, perhaps unavoidably, superficial with the details of his life, and the pause button comes in handy for reckoning with the visual overload of Hirschfeld's 70-year body of art. The inevitable celebrity plaudits begin to grate as well, including a scene in a theater lobby in which Lauren Bacall loudly insists to an embarrassed Hirschfeld that he is a legend. But if you can endure the hokiness, The Line King serves as a solid introductory glimpse into Hirschfeld's life and work.