Kimber Myers

Centering on a vibrant performance by Horta and lively musical moments, this Brazilian biopic from director Hugo Prata celebrates Regina's talent, but it never gives real insight into who she was as a person or the historical period that fueled her work.

The romance lacks the depth that can make a love story feel real, but the performances charm, as does the film’s well-meaning take on culture clashes.

With its authentic emotions and good intentions, Herz's drama will still likely inspire empathy in the more sympathetic members of the audience who can see past its filmmaking flaws.

Remaining child-free is still a relatively taboo issue, and To Kid or Not to Kid deserves praise for exploring it so openly. The film wanders a bit in that exploration, lacking a structure that might make it more effective in having the conversation, but there’s value in broaching the topic.

The script misses the spark of better family films with its overly complicated plot and lackluster dialogue. However, "The Son of Bigfoot" features some nice animation, particularly in its action scenes, and its moments between father and son are especially sweet.

Its chill, holistic view of the clinic and its canine patients will likely appeal to pet lovers and wellness devotees alike, although the allergic and the skeptics might find their minds wandering toward its end.

The performances don’t always reach the rawness of the subject, but the film will resonate with many people who have experienced similar crises and help others empathize.

Hotel Transylvania 3 may lack the indelibility of the medium’s best offerings for kids, but hopefully its clear theme of acceptance lingers long after the inoffensive odor of its fart jokes dissipates.

Individual scenes work, but it lacks cohesion as a whole.

Though it’s never really scary, it is appropriately silly and a fun time for genre fans who prefer giggles to gore.

Though her script overloads its characters with confusion to the point of farce, there’s still a warm, authentic core that drives this well-meaning effort.

Underneath the layers of formaldehyde-treated flesh, there’s real heart and deserved wonder at the human body.

Although there are some tonal and plot issues, Gourmel’s directorial debut finely captures the dangerous energy of being a teen, especially one who struggles to deal with her life. Cavale is an imperfect film, but it’s evidence that Gourmel will be a filmmaker to watch.

Rawal’s well-shot film is engaging — particularly for those with an interest in running and/or meditation — but the lack of balance between each of the four stories ultimately throws the film off.

The story is thematically muddy at best and problematic at worst in the ways it handles Sparkle’s newfound independence and the horrors she experiences. Despite these issues, the arresting images of She Paradise and the distinctive voice of its director mark Cozier as a filmmaker to watch.

It’s surprisingly intimate at times, but we leave without greater insight into its subjects’ world.

This isn’t a subtle, moody film filled with a sense of unease; instead, jump scares are around every corner. If that’s all you want from a horror movie, you’ll have a very good time — and an elevated heart rate for its speedy 90 minutes.

In Elsewhere, Jiménez has made a humanist film that deals sensitively with the processes of grief and moving on.

Halston places the designer at the top of fashion’s most influential artists, but it avoids hagiography, showing his ego and addiction. Unfortunately, just as Halston did in life, this documentary avoids delving deeply into the mysterious man.

Its humor is broad, but most of the jokes work for the intended audience — with a few even breaking through to more resistant viewers.

Songwriter is intimate while oddly lacking insight into the artist himself, beyond the heart he pours into his lyrics.

With its good use of a single location and just three characters, Long Lost almost works, though its fun twist would have felt fresher a decade ago.

Definition Please is one of those debuts that doesn’t fully cohere on its own but hints at the promise of what the filmmaker can do.

Boasting a higher body count than its IQ, Resident Evil: The Final Chapter is violent, idiotic fun.

Like its juvenile characters, Yes Day sometimes goes too far, with over-the-top scenes that lessen the impact of the genuine emotions elsewhere. But will kids whine about it (other than for their own Yes Day)? Probably not, and parents likely won’t mind either.

Beyond its style, Dementia 13 doesn’t innovate, but it’s a capably made indie that should please genre fans searching for a haunted diversion.

Salt in My Soul is emotionally affecting, but its ordinary approach hamstrings the story of a woman who seemed truly extraordinary.

Though Fight for Space doesn’t innovate artistically, first-time director Paul J. Hildebrandt’s documentary makes strong arguments for scientific innovation.

Plus One might be a romcom squarely from the dude’s point of view, but Erskine is the real breakout star here. She’s raunchy and funny, giving the film a loose, wild feeling in its best moments, though it’s too often predictable in its larger beats.

Beyond its plea for research, the documentary is largely hopeful, but for balance could include more anecdotes and details of when the treatment doesn’t have the desired results.

Director Charles Stone III and screenwriter Chuck Hayward have made an overlong film at 108 minutes that may try the audience’s patience at times, but their movie hits its beats enough to make fans of the genre tap their feet along with the action on screen.

Like its predecessor, Super Size Me 2 is largely entertaining, with audience enjoyment varying on their appetite for Spurlock’s fun, smug shtick.

Based on Lois Duncan’s gothic young adult novel, Down a Dark Hall is entry-level horror for teens. The scares might not satisfy those old enough to vote, but it should provide mild chills for its target audience.

While Disco’d is an unvarnished, moving look at the lives affected by the rising crisis of homelessness, it could have used a bit more polish and structure in telling these stories.

Funny Story is only mildly humorous, but it’s watchable thanks to Glave’s game performance that makes him likable despite his foibles.

The end result is sprawling and often unfocused, with a reach that exceeds its grasp.

Directors Tomer Almagor and Nadav Harel simply let the cameras roll, giving Neilson enough rope to hang himself with his actions and words.

Audiences who care more about how a film makes them feel than if it fully works will be rewarded. But those who need more will find that Discreet lives up to its name a bit too well, never fully offering answers to all the questions it asks.

It’s as unfocused as its heroine, roving between subplots, but there’s still plenty to admire in this frank, funny film.

The documentary lacks the polish of films made by a more experienced team; however, its endearing cast of students and teachers largely make up for its flaws.

The movie draws you in with its tender exploration of relationships and authentic performances, but pushes you away with pointless slo-mo sequences.

Madness, Farewell is best when introducing viewers to Liza’s simultaneously dark and sunny world, but later it turns into more of a standard quirky indie than its premise suggested.

This isn’t the anodyne, awards-baiting film about disability that viewers might be used to; instead, Hikari’s feature debut is sensitive and empathetic, showing a young woman who is more than just her cerebral palsy. Yuma is a wildly creative, sexual person who deserves more than her society often gives her.

Directors Mark Blane and Ben Mankoff bring a kinky sweetness to this oddball dramedy, but audience’s appetites for it will depend on their patience with its lead character.

Trainin tries too hard at times to make a moving scene even more moving, undercutting the narrative, and should put more trust in the strength of the story he is telling.

It’s entertaining but slight, particularly as it bulks up with the post-credits inclusion of the video.

Despite its flaws, Ask for Jane is moving, especially in a time where reproductive rights are at risk in states across the United States. However, abortion rights advocates will wish the message came in a better-made movie.

Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.

The Oslo Diaries is at its most gripping – and its most devastating – in its coverage of how close to peace the two sides came but have still yet to reach.

By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.

When Reinhardt’s fingers aren’t dancing across guitar strings, it has all the vitality of an educational film shown by a substitute teacher. It comes alive in those fleeting moments, but they are too infrequent to keep audiences engaged.

It would serve its audience better if it paid more attention to a stronger structure and a believable plot, but its flaws don’t keep it from being affecting for those who like their love stories on the lachrymose side.

Isn't a bad freshman effort, but it doesn't offer anything to set it apart from dozens of other indie dramedies.

Little is a blast, but it’s a shame that it’s not a better movie.

Lee Daniels’ The Butler could be an important film that comes at a time where race is still a challenging topic for America, but it succeeds less as a film than as a history lesson.

Though well shot by Justin and Ian McAleece, the narrative is a disjointed mess that ends in an eye-rolling conclusion. Its spiritual insights feel like a mishmash of appropriated sentiments from a variety of philosophies.

While not everything connects in the movie, Hooking Up is saved by the efforts of Snow and Richardson. They make a charming couple, even if the film itself has less allure.

Generational Sins does deserve praise for avoiding the saccharine tone that plagues so many other films about faith, though its script may fail to convert nonbelievers.

Unlike its protagonists, Touched with Fire never reaches either impressive highs or awful lows. It’s a film that is capably made in most respects, particularly in its acting and visuals, but it’s not truly successful.

The country-fried romance written and directed by Bethany Ashton Wolf becomes a victim of self sabotage as it nears its (predictable) conclusion, removing any good will it created in its first half.

The film is effectively scary, filled with plenty of jump moments and a few slow-burning scenes, but the scares aren’t enough to balance the poor writing and lack of imagination.

Nable’s script isn’t always clear on its characters’ motivations, and it drags on even at a brief 92 minutes. However, Outlaws should largely satisfy audiences who like their action movies savage and bleak.

Like a Boss is screamingly funny at times, thanks largely to the talented cast.

Blue Gold: American Jeans is intermittently engaging, but its attempt to weave together the journey of vintage clothing dealer Eric Schrader with the history of the apparel ultimately falls apart.

As impactful as its rarely told story might be, “Trezoros” would have been better served by a shorter running time or a more focused approach to its central story.

Augie's challenges and efforts are moving, as is Lynne's devotion to him. Unfortunately, the film lacks consistency in its structure, and it glosses over some moments and people without explanation.The treacly score doesn't merely nudge viewers toward emotion, it shoves them.

Visually, Ghost House makes good use of its setting, offering Instagram-ready images of its location shot by Pierluigi Malavasi. Unfortunately, Thai people are used in ways that rely on cultural stereotypes, a blemish on an otherwise effective and unsettling film.

It’s a movie-length cliché about the type of love that explains why drugstores are stocked with cheap, forgettable Valentine’s Day gifts bought by teenagers and the immature at heart.

Ultimately The Ranger promises more than it delivers.

Corddry’s Lou was an enjoyable, over-the-top asshole in the first film, providing most of its humor, even while surrounded by an equally strong cast. However, here, he’s just a truly disgusting human being. Worse still, he’s not that funny.

It’s a well-intentioned film that wants to help people live healthier lives, but it sometimes appears closer to a feature-length infomercial than a legitimate documentary.

Director Damien Power occasionally tilts the movie into horror territory, with some particularly grisly violence that might shock viewers who think they know where it’s going.

In its first act, Close is a competent thriller, buoyed by early action sequences from director Vicky Jewson and some really solid scene transitions that point toward a strong style. However, as the film goes on, it switches from the precision of a sniper rifle to the scattershot effect of a drunk-wielded machine gun.

The well-intentioned comedy never fully comes together to make a cohesive film, but there are glimpses of something interesting amidst its flaws.

Horror movie characters aren't generally known for their brains, but these ones make enough bad choices that audiences won't be able to help yelling at the screen (at least ours couldn't). It's a frustrating experience at times, but the script from Ben Ketai and "The Strangers" filmmaker Bryan Bertino eventually allows the family to take some satisfying actions in the second half of the film.

The vibrant visuals contrast with a muddled narrative, leaving the audience less satisfied than the characters.

Many viewers will find it challenging to see the substance hidden in the documentary’s over-the-top style that makes Michael Moore’s directorial stamp look subtle.

Though the plot gets points for originality, there may be a reason why no one has told this story before: it’s ridiculous. But Take Care occasionally succeeds with funny dialogue and performances from Leslie Bibb and Thomas Sadoski.

Though anchored by strong performances that ultimately make it watchable, the surrounding film stumbles along thanks to a bumbling script that’s devoid of any originality.

Though it takes far too long to kick into gear, Bottom of the 9th does improve as it goes along, becoming less self-serious in its second half. But the upswing can’t vindicate the rest of the film; it may be about redemption, but it’s too little, too late for the movie itself.

While it’s an occasionally funny film with good performances from its stars, it’s poorly and cheaply made.

Gretel & Hansel is Perkins’ biggest film to date, and it cements a filmmaker in full possession of a visual prowess that few others with far longer filmographies can claim. But while he offers a stunning feast for the eyes, the substance is likely to leave viewers still hungry.

Adapted by Jesse Andrews, the movie speaks toward the truth that appearances — including one's race and gender — shouldn't matter in love and relationships. It's a thought-provoking concept that makes "Every Day" more ambitious than your average teen romance, which only makes it all the more disappointing that it simply remains an average teen romance.

Ben Parker's feature directorial debut never takes full advantage of its small setting, resulting in a grim thriller that isn't as compelling as it might have been in stronger hands.

There’s little that’s memorable here and less to latch onto, beyond the foregrounding of an Asian woman in American history and Chau’s performance.

Even with all of Haddish's hard work, she still can't clean up the mess she's landed in.

The first two films faltered in their final act, and Chapter 3 experiences some of that as well, though it never achieves their heights. There are some nice scares, but a few formerly central characters are basically forgotten in favor of wrapping things up.

This is largely a well-made movie from the technical perspective, but a stronger hand in the editing room would’ve made for a more watchable one.

Well-shot and well-intentioned, this drama will likely please its core faith-based audience who won’t roll their eyes at the protagonist’s name or the earnest, hackneyed dialogue. However, most others will find the movie’s script from Gianna Montelaro bland and lacking both nuance and specificity.

The fifth film in the series still executes creative kills; if only the same attention were paid to the rest of the movie.

Thailand is lovingly shot with an eye for its vibrant colors, and there are some late scenes that show an impressive style from Green. Not everything in the script shows that same care, but this is still an interesting, if not wholly successful first feature from the star.

Writer-director Mark Murphy has made the fun-house version of beloved big-screen Britcoms, with a particular nod to the classic Four Weddings and a Funeral, but none of the grace. His script, written with Sabrina Lepage, is the cinematic equivalent of lad lit, and it lacks the depth of the genre’s best from authors like Nick Hornby.

Unfortunately, the movie’s over-dependence on voice-over and its overwritten script interfere with the audience being able to fully engage.

Dhont’s film is a strong debut from a technical angle, but it lacks the humanity necessary for a story of this nature.

It’s not unpleasant, thanks to the energetic dialogue and songs, but it lacks the fun and focus that made “Pitch Perfect” such a surprise hit worthy of repeat viewings.

This is all fascinating in isolation, but transitions between stories and the experts’ insights never feel cohesive. The Portal also lacks the depth to fully engage — and convince — the viewer.

The Intruder is a blunt but effective instrument. This thriller lacks subtlety and craft, but it succeeds at what it’s intending to do: keep the audience stress-eating popcorn for 100 minutes and leave entirely satisfied with the experience they just had. It’s not a good movie, but boy, is it fun.