Kate Erbland

Angelou’s life and work was rich, significant, influential and hugely varied, and yet “And Still I Rise” is hobbled by unimaginative delivery and direction. In short, it’s limited, and Angelou’s own history proves that limitations must be fought against at every turn.

As Riegel builds to a conclusion that feels both predictable and satisfying, Dandelion must decide how far she’s willing to go to bet on herself. More people should bet on Riegel and Layne, and fast.

In the hands of director Josephine Decker, a filmmaker uniquely suited to depicting personal expression on the big screen, the film version of The Sky Is Everywhere makes for a satisfying and special take on a particular sub-genre of YA story.

It makes for a creative, clever watch, though one that seems exclusively imagined to cater to the series’ older fans and otherwise mature audiences.

Leonard and Weixler’s lived-in chemistry and quirky writing (again, largely improvised) keep their characters feeling real even in the midst of their wilder adventures.

For a film built on the wild concept that bonafide action bad-ass Kate Beckinsale has to wear an electrode-laden vest meant to shock her into submission before she maims everyone around her, there’s only one response: How dare this film be so lethargic.

Mothering Sunday pushes toward cut-and-dried conclusions, sewing up certain storylines with a finality that doesn’t befit the early sense that nothing is really ever over for Jane or the wounded world she inhabits.

Part creature feature, part war-is-hell nightmare, and entirely dedicated to cutting down the misogynist jerks who populate it, there’s enough giddy fun to power Shadow in the Cloud through just about anything.