Candice Frederick

As a kind of twisted social commentary, it doesn’t make much sense on paper, but don’t worry: It won’t make much sense on the screen, either, but Mosquito State manages to get under your skin and also to find moments of disquieting beauty.

Black and Blue is chock-full of heart-pounding car chases and suspenseful moments that are certain to entertain mainstream audiences, but the film falters when it attempts, beyond its tittle to reflect a necessary and under-discussed conversation about societal issues.

Marshall-Green’s directorial debut is an intriguing story centered on a flawed protagonist, and with more polishing in the second half of the film it could have really sailed.

The gendered themes at play here do little to boost the quality of Buck and Schlingmann’s storytelling, which is too tangled to follow at times.

At its core, The Last Full Measure is a poignant reevaluation of gallantry and of how survivor’s guilt impacts those veterans whose lives were spared. It’s not without its flaws, and Robinson’s wobbly narrative bears much of the blame, but its emotional resonance will stay with you long afterward.

Perhaps if 21 Bridges just settled on being a mildly entertaining single-night cop thriller, it could have gotten by on its well-shot action scenes and A-list cast. But once it introduces concepts it’s unable to fulfill, it becomes a massive disappointment.

Little is a funny, surprisingly heartfelt film, embedded in traditional themes and amplified by the talented Martin, who reminds us that she and other youth like her aren’t just adorable — they’ve got boss mentalities that cannot and should not be ignored.

The Best of Enemies tries to remind us that simple solutions might exist if we could open our minds, but it undercuts itself by shortchanging its black female lead and ending on a very maudlin note that lacks punch.

It’s absolutely grating to watch. Even worse, there’s not one humorous moment throughout its nearly 90-minute runtime.

Fanning and Bardem deliver two utterly devastating performances that show the power of despair met with unyielding love.

Though there is a comforting nostalgia from seeing the Shaft men stick it to the man while simultaneously holding on to their old-school alpha-male swagger, Junior’s presence adds a much needed reproach — and smartly comedic element — that ultimately doesn’t blame them but instead makes them take a hard look at the error of their ways in the face of justice.

The Intruder rings incredibly hollow.

Lucy in the Sky becomes a strange experience that tries to force too many themes together at the detriment of its otherwise fascinating heroine.

As well intentioned as its flurry of feelings and sentimental performances are, “Berlin, I Love You” isn’t given the space or the format to truly sail. It fails to build on political landscape or culture and instead tries to pull on the heartstrings of its audience with half-baked concepts.

Like a Boss is vibrant and sometimes funny, but rarely heartfelt and entirely stale. While it hits a few sentimental notes, the film’s failure to delve into the friendship it celebrates, or to say anything significant about women’s relationships in business, ultimately hampers it.

After Maria is an affective, personal film that humanizes a persistent national tragedy.