Kimber Myers

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

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.

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.

For a film so grounded in the real-life issue, the movie doesn’t work to make its characters feel human or its world feel real, blunting the emotional impact it could have had.

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.

There’s merit — and in fact, real present need — for what The Mindfulness Movement is trying to say, but the film often gets in its own way.

A few strong moments from its stars brighten the film, but it’s never more than a mildly enjoyable diversion.

Tape might be based on a true story but it still feels disingenuous, both in its bleakest moments and in those meant to inspire solidarity. There’s clumsiness present in the filmmaking, with issues that deserve so much better.

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.

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.

Those looking for inspiration will find it without looking too hard, but those who don’t attend church regularly will be as bored as they would be by a sermon.

Unfortunately, this Australian horse racing film remains a standard underdog narrative that fails to rouse the audience from their seats, despite the best efforts from its cast and a few charming moments.

De Clercq’s clear directorial talent gives the film the illusion of respectability, but it can’t remove the sweaty sheen of smarm.

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.

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.

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

What might have worked in theater doesn’t translate here, particularly the repetition of words and phrases that feel true to the original medium but grate here on screen.

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

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.

Low-key indie First Love has some interesting but fleeting moments in its story of twins in crisis, but it feels like a first draft whose script could have used more fleshing out, particularly in the characterization of its leads.

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.

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.

There’s no big action set piece à la “Mission: Impossible” here and no single line of memorable dialogue to reference. But someone will have created a supercut of Kristen Stewart’s best moments on whatever app replaces YouTube, and that will remain more indelible than the movie as an actual movie, especially for the girls who see themselves or women they want to see on screen.

For all its flaws, Last Christmas isn’t a bad time, despite being a bad movie. Credit Clarke and Golding — or that rum-heavy egg nog you should drink before the opening credits.

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.

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.

Melodrama and an overstuffed plot often overshadow the genuine feeling here.

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.

Seeds might be classified as horror, but its most disturbing element isn’t what audiences expect from the genre.

Scaborough doesn’t try to shock audiences, but its attempt at a surprise is sadly predictable.

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

Kendrick’s film eventually finds its legs in the final stretch, with an emotionally effective conclusion that might persuade even the cynics to its cause. Whether it converts them to running or to Christ will depend on the viewer.

South Central Love tries to deal with heavy issues with grace, but its clumsiness undercuts its message.

Because we’re living in the worst timeline, these actors and concept are wasted in a movie that lacks spark, flavor, spice, and generally anything that generates or even resembles substantive heat.

Otherhood does have a few genuine and genuinely funny moments — thanks largely to its stars — but they’re overshadowed by the bad behavior of both the mothers and their sons.

Directed by Sean Mullin, this is 83 minutes of marketing for mega-brewer Anheuser-Busch InBev, but it’s made with enough skill that it might bring some former fans back to the fold.

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.

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

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.

Into the Mirror is deliberately opaque, for better or worse, more concerned with images and mood than concrete details.

Round of Your Life is unlikely to result in any conversions — to faith, golf or focused driving — but at least it won’t have viewers throwing their clubs in anger.

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.

A film that deserves scrutiny for its treatment of its young female protagonist.

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.

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.

Taylor’s film only really works if you turn off the rational part of your brain, which isn’t fully developed until you’re in your 20s anyway. If you can ignore the plot holes and gaps in logic, Ma is a fun, dumb time at the movies.

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.

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

Daniel tells Natasha of his elements for falling in love, “My ingredients are friendship, chemistry, the X factor,” and he assures her that they have that last one. But that’s what The Sun Is Also a Star lacks: that ineffable quality that makes it work. Though we spend nearly two hours in its presence, it never makes us fall in love with it, despite its best efforts.

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

You absolutely want to hang out with these charming, amusing women off-screen, but the time spent with their on-screen counterparts isn’t nearly as fun as you’d hope.

Beyond the strength of the visuals, there’s promise in the young cast that you see glimpses of here. ... However, it’s never enough to make “Gully” worth watching. Its raw, gritty approach feels like an effort from the filmmakers, but it’s mostly work for the audience to endure.

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.

[A] bland, sometimes dull film ... Those unfamiliar with the history of the Manson Family murders won’t gain any real understanding of the crimes or the character of those who committed them, while those who know the details won’t get any new insights into it either.

Less would have been more here; a less scattershot approach would have yielded a more resonant film.

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.

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

The problems may lie in Todd’s novel, but regardless, characters act illogically, as though written by someone who napped through most of Intro to Psych and skipped English 101 altogether. Character motivations go either unwritten or left on the cutting room floor.

From the casting of Centineo to the climax at a school dance, The Perfect Date feels engineered by Netflix algorithms. The resulting film, directed by Chris Nelson, feels as inauthentic and unsure of its identity as its hero.

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

With its solid production values, Unplanned has all the appearances of being a real film, but viewers in favor of abortion rights will find it to be pure propaganda. Writer-directors Chuck Konzelman and Cary Solomon spend more time making their talking points than developing their characters, who exist merely to make their arguments.

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.

As a debut feature it’s a big swing, and a miss, but there’s also just enough to suggest that Wakefield may connect in the future.

Beyond Dumbo’s cuteness (which was so overwhelming that I now want a baby elephant for a pet, which is surely not the point of the film) and Keaton’s perfectly over-the-top performance, there’s little to latch on to in this Disney film. It throws so much at the audience that nothing really sticks, leaving such a small impression for such a big movie.

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.

A dour drama that lacks depth despite all its good intentions.

Director Lior Geller brings an aggressive energy and jittery style to this action movie, but his sketch of a script feels like an all-caps reactive tweet to some news story about MS-13, a real problem in the D.C. area.

Though the family-friendly comedy has all the good intentions of a motivational puppy poster, it unfortunately also has the same level of intelligence and plot.

Darkness Visible is disjointed and drags out for far too long, but it features some effectively creepy visuals.

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

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.

Miss Bala fails both when judged on its own merits and when compared to its predecessor. Just like Gloria in the film itself, Rodriguez is the only hero here. She works hard to elevate the material, but both she and her character deserve so much better than this.

Where King of Thieves fails its heralded cast is in its shifts in tone. We’ve been promised a fun ride with Caine in the driver’s seat, but the trip goes downhill too quickly.

With its incoherent, episodic script, In Like Flynn lacks the worth of even a minor Flynn film.

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

The oily slick of sin across the surface of this film isn’t what makes it wickedly fun; it’s the utter devotion to its bonkers twist, at once defying logic and good taste. Serenity knows it’s trash, but that’s not to say that it’s not entertaining trash.

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.

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.

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

Though its script lacks moments that bring cohesion to its characters and timeline, Elenie remains a woman whom audiences can empathize with.

Elephants almost works, but it self-destructs with as much frequency as its damaged characters.

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.

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

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

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.

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.

Individual moments work, but there’s little to tie them together in a cohesive narrative.

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.

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

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.

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.

Despite chemistry between its attractive leads, 5 Weddings is a hot mess that deserves to be left at the altar. Inorganic and implausible, this Bollywood-inflected rom-com features little comedy and even less romance.

The minimalist approach and premise of Solis should work, but the execution in the script keeps the viewer disengaged, wishing the pod would move more quickly toward its final destination.

The gentle drama Change in the Air is buoyed by its sweet spirit and a strong cast, but it ultimately tries too hard to win our affections.

Despite its flaws, The Samuel Project is likely to make an impact on open-hearted audiences, with extra credit due Linden for an authentic performance in line with the actor’s body of work.

Summer ’03 bounces between plot lines and themes, shuffling through elements of better films with a lack of focus and little insight into Jamie. It never transcends its teen movie origins to become something more.

Screenwriter Robert Siegel’s second directorial outing is better as an exercise in nostalgia than as a film, but it deserves some praise for its faithful recreation of a time and a place.

Asante usually excels at sharing stories audiences haven’t seen before, so it’s unfortunate that this one feels so dully familiar.