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.