Kimber Myers

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.

There’s nothing particularly sophisticated about the filmmaking in Free Trip to Egypt, but first-time feature director Ingrid Serban succeeds in telling a simple story in a simple fashion, and it’s an effectively moving effort.

The resulting film is a gripping story about a search for justice amid systemic corruption.

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.

Like the kimchi stew it prominently features, this is comfort food at its best. Given its origins, it should feel like something out of a lab, but this is a charming crowd-pleaser in the best sense.

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.

There’s some truly nasty stuff here — both violence-wise and in its outlook on evil — but it still somehow manages to be fun amid all the carnage.

There’s something special here, but it’s surrounded by drudgery.

Everyone is terrible in Extracurricular Activities, a dark comedy without any laughs and a mystery that doesn’t need to be solved.

The Serengeti Rules celebrates not only the diversity and beauty of the natural world but also recognizes the transformative power of curiosity and knowledge.

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.

For her directorial debut, Vilaysack has made an authentic documentary that deals honestly with issues of identity, immigration and family. There’s little self-editing here, giving the audience insight into her pain, an experience that is both moving and uncomfortable in its raw state.

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

The Hustle is profoundly stupid and it treats its audience as though they’re even less intelligent than it is.

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.

Gentle but sharply observed, Good Posture is an uncommon cinematic look at an intergenerational female relationship.

Come To Daddy is definitely not going to be everyone’s cup of tea. ... Provocative and ballsy ... [the film] doesn’t give a shit if you like it and perhaps even dares some audiences to sit through it unfettered. Ultimately, it knows that those who stay are on its weirdo wavelength and are in for something insanely entertaining.

Rattlesnakes imagines itself as a neo-noir, but that genre is more evident in its themes of revenge and ambiguous characters rather than in its nondescript style. This is a bland, unpleasant watch, all set to an equally grinding score.

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

There should be more films like Fast Color. Movies that demonstrate that you don’t need a giant budget or decades of established IP to do superhero or sci-fi well on the big screen.

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.

Wild Nights with Emily feels at once revelatory and a total delight, a surprise for both for literature geeks and those who didn’t do their required reading in school.

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

Sex Trip tries to tell its audience that what’s inside is what matters, but this comedy is rotten at its core and sure to offend most people unlucky enough to watch it.

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.

Missing Link is a fun, if uneventful and uninspired, trip, but at least it won’t annoy the parents who are along for its fast-paced ride.

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.

This is a moving documentary that treats its subjects with the dignity and respect they don’t always get but certainly deserve.

Though “Pink Wall” rarely breaks new ground in its focus on the evolution of a couple’s relationship, Cullen’s truly raw, intimate approach helps it feel fresher than it might have otherwise.

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.

As played by It standout Lillis, Nancy is smart, independent and loyal, and it’s easy to see how she’ll charm a new generation of viewers — and hopefully readers.

It’s a humane, compassionate film, simultaneously full of beauty, sadness and struggle.

“Sword of Truth” is full of seemingly effortless charms and quirks, but Shelton keeps it from overloading into full-on twee. This is a small film in every way: one that sometimes lacks precision, but its casual feel really works within its world and among its characters.

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.

As bland as its title, Something is a horror film with few scares and a mystery without answers.

Garrison’s McNeely damns the overlong film; he’s neither a good man nor a good character, someone that we can’t care about or care to watch.

This feels like two movies for the price of one, but the audience isn’t getting a deal.

This is a rousing, essential viewing experience that reminds us of exactly what humanity is capable of when we work together toward a single, world-changing goal.

Beyond its theme of the power of God’s love, Run the Race centers on the importance of forgiveness. Viewers who can overlook its flaws will find value in its message, but those outside its target demo will be unable to see beyond its cinematic sins.

The Lears is a witlessly profane attempt at dark comedy that is beneath the talents of everyone on screen.

There are moments of joy and humor throughout, and the film insists on feeling those emotions, just as much as it does grief.

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.

The Breaker Upperers features a distinctly New Zealand style of comedy: dry, awkward and utterly hilarious. But directors, writers and stars Jackie van Beek and Madeline Sami still give this film a wild energy that’s absolutely their own, with jokes that take the audience from giggles to cackles to all-out shrieks.

It pokes fun at falling in love on screen, but it’s smart and sweet enough make us fall for it as well.

Like most sequels, Happy Death Day 2U can’t quite replicate the feelings of joy and discovery of the original, but Landon deserves credit for varying the tune, while still playing the hits that will please the fans of its predecessor.

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.

One Million American Dreams lacks a cohesive structure, but it is bound together by the tears and grief of the people left behind.

Berlin gives a good enough picture of its host city, delving into its complicated history and giving glimpses of its beauty. But few of the segments connect us to its inhabitants and visitors in any meaningful way.

Flaws and all, Cold Pursuit is a gleefully violent good time. Moland’s movie is silly but sharp, with barbs drawing blood despite a story that we’ve seen before.

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.

Directed by Robert Schwartzman (“Dreamland”), The Unicorn is more silly than sexy, but it also has moments of seriousness with an emphasis on the value of honesty and trust in relationships.

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.

Adam is a small movie, but it still feels like a big step forward for trans representation in film, which has lagged behind gay and lesbian progress made on screen in the last few decades. It’s as imperfect as its hero, but there’s still something to root for here.

High Flying Bird is often serious in how it deals with issues more substantial than just sports, but even beyond McCraney’s sharp, witty script, there’s a sense of joy here. The fun Soderbergh had making the film radiates off it, with this masterful movie that reminds the audience why we’re lucky one of the greatest living directors is still in the business.

Like its signature song (which has taken up permanent residence inside my brain), The Lego Movie 2 is fun and full of energy, but unlike the original, it’s not entirely memorable. Hopefully, its kind message will stick with kids and parents, even if none of the jokes do.

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.

Both awe-inspiring and mouth-watering, The Heat: A Kitchen (R)evolution celebrates seven female chefs forging ahead in a male-dominated industry.

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.

John David Ware’s directorial debut is sloppy in its editing and camera angles, though the script from Bonné Bartron gave him little to work with. Unbridled stumbles further with clumsy product placement, making the film seem less sincere in its efforts despite its good intentions.

It may poke fun at Karen and Tina, but it never says that their choices around motherhood aren’t valid and deserving of happiness. Its ultimate sympathy for these women may be at odds with earlier jabs at them, but it creates an empathetic space that is surprisingly emotionally satisfying.

Little Woods isn’t always subtle, but the occasional lack of nuance doesn’t lessen the power of its timely themes or impressive performances.

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.

As sweet, corny, and comforting as your grandma’s creamed corn, Dumplin’ may not be a balanced meal of a movie, but it’s an enjoyably carb-y binge.

Even for those who do know Ailes’ history of profound power abuse and sexual harassment, Divide & Conquer is engrossing.

On the Basis of Sex is a well-enough-made movie, fully constructed in the mold of hundreds of biopics that came before; it’s emotionally satisfying but has few surprises.

May the Devil Take You is less funny and a bit less playful than its inspiration in Raimi’s work, but there’s still a sense of fun here. That is, if you find shrieking and laughing in terror fun.

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.

Not every stylistic choice works, with some moments distracting from the film’s message and occasional shots that don’t feel organic. But Brown’s journey remains compelling and absolutely necessary for the audience to see, as do the stories of his fellow veterans.

There’s clear affection for the ocean and its inhabitants in “Bernie the Dolphin,” but the movie’s script from Terri Emerson and Marty Poole is on the level of educational placards at a second-rate aquarium. It’s informative, but there’s little entertainment in director Kirk Harris’ film.

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

Its incoherent script is packed with more “Star Wars” references than Kevin Smith’s entire oeuvre, but none of the laughs.

Other than showing moments of in-fighting, Meow Wolf: Origin Story is an almost entirely positive exploration of the collective and their art — but it’s an effective one.

Roll with Me avoids the tropes that narratives about people with disabilities often offer, instead giving a fully developed picture of a man who wants his family to be proud of him and his accomplishments.

Causey deserves real credit for reckoning not only with America’s legacy of slavery and prejudice, but also examining her own ancestors’ specific roles in the racist treatment of African Americans.

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.

Despite its ruff collars and Elizabethan English, Mary Queen of Scots is no staid, stuffy period drama, as restrained as the breathing of corseted women. Instead, this a vital film, whose lace-trimmed bosom heaves with life.

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.