Kimber Myers

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.

Hirsh Bordo’s first film isn’t ambitious in its style or structure, but it is entirely effective at communicating its encouraging message to the audience.

There’s never too much at stake for the princesses or the audience, but it makes for a fine diversion from the realities of life and history.

12 O’Clock Boys is an exciting, beautifully shot look at a subculture through the eyes of one of its most devoted admirers.

Betting on Zero takes a matter-of-fact approach to its material, but it makes a convincing and sometimes emotional argument against Herbalife.

What’s interesting about Lamb is that it doesn’t stand in judgment of its protagonist; it neither condemns him for what are undeniably bad and illegal choices, nor does it celebrate them either. Though not always successful, this is a complicated film that should cause its audience to continue to think about its characters and the actions they take.

Regardless of how you define your diet, At The Fork is effective and affecting in its offering of a variety of viewpoints.

Comedy can succeed based on either its relatability or sheer absurdity, and A.C.O.D. favors the former approach, while not entirely forgoing the latter.

While it features characters making unrelatable decisions, this 77-minute film is nonetheless compelling and beautifully constructed.

Anarchic and daring, Never Goin’ Back is a tale of adolescent female friendship that is somehow ballsier than your standard dude-driven buddy comedy. Frizzell’s film is as fearless as her heroines, and it refuses to judge them for their bad behavior.

Demon is a film that improves the longer it sits with you, as various images seep into your consciousness and reappear without warning.

Despite its pedigree, “Downton Abbey” remains the fanciest of soaps — the kind that Martha Stewart and Oprah Winfrey use — but it’s still a soap. There’s drama and dalliances, and it would all seem so silly if it weren’t for its setting, cast, and budget. Some plot elements are so ludicrous that they earn giggles, but Fellowes makes it so purely enjoyable that it’s hard to complain too much.

Möller keeps a sense of immediacy and tension throughout, despite never actually showing the cause of Asger’s worry and dread – and our own.

Ivory Tower is compelling viewing, particularly if you feel close to the crisis.

It’s a crowd pleaser of a film, whose powerful musical moments can overshadow any smaller issues within the film.

The movie has its flaws, but they’re tough to remember in the face of the fun it provides for two hours.

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.

There’s a delirious joy in watching this much action, this well executed at every level.

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.

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

The documentary feels more like a mystery and almost like fiction itself as it unravels the multiple layers behind Amina’s real identity. The revelation is jaw-dropping and infuriating, and the outrage only increases as each additional detail is uncovered.

With the deliberate pacing and spare approach, some audiences may find Vazante and its austerity a taxing experience, particularly in its first half. But just as Virgílio awakens Beatriz, we’re drawn into both their worlds for the remainder of the movie.

Mixing equal parts of “The Hangover,” “Very Bad Things,” and “Bridesmaids,” Rough Night is a comedy cocktail that goes down easy. It adheres a bit too closely to the recipe established by its predecessors, but it works well enough to keep the audience laughing.

“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.

Bad Moms could easily skate along only on its very funny, often very raunchy jokes, but it also makes a much-needed argument for the difficulties of modern motherhood and how the pressure to be perfect is damaging both mothers and their kids.

This is a fast, fun watch that succeeds largely on the charms of its star and the able hands of its director.

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.

For the skeptics, the film doesn't only focus on how chanting makes practitioners feel, though that is its most compelling, quiet argument. For those who meditate, it also reveals the physical changes that are measurable in brain scans.

Not every note rings true, but this breezy pop song of a movie is mostly fun while it lasts.

This documentary is a lyrical exploration of both a person and the place she died in, as well as a devastating commentary on American society’s approach to mental health.

It may lack focus in its approach to its subject, but Davis’ compelling character and powerful message keep the audience engaged.

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.

A little too broad at times, Swan Song smartly balances its excesses with small, sweet moments that leave an impression on the audience just as significant as Pat’s imprint on Sandusky.

This is a deranged nightmare of wildness, as full of laughs as it is arterial sprays. It won’t be everyone’s cup of thé, but its joyously vulgar title probably deters those likely detractors anyway.

Devotees will appreciate a different look at their fallen idol, while those who aren’t familiar with his music might find the film a bit long at nearly two hours but will see what the appeal was to those who loved him.

Berk and Olsen’s script only skims the surface of what is really going on here, and yet Villains remains a delightfully slick dip in the shallow end of the pool. You may leave wanting a longer swim, but enjoy the sick fun while it lasts.

Compassion, warmth and tenderness radiate off the screen, thanks to the guiding hand of Pendharkar and the nuanced performances of Hollyman and Arison.

Bethany Hamilton: Unstoppable doesn’t offer the technical details about the sport that might have made its subject’s feats even more inspiring, but even someone who knows nothing about surfing can’t help but sit mouth agape at Hamilton’s athleticism, optimism and determination.

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.

Love & Bananas works on two levels, spreading awareness about the plight of Asian elephants and the damage that tourist activities like elephant treks wreak, as well as documenting Noi Na's 500-mile journey and dramatic rescue.

For anyone interested in politics, religion, American culture or the ever-overlapping space they occupy, this documentary has the potential to move hearts and minds.

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.

t times, Mully is difficult to watch as it explores the depth of poverty and abuse for some Kenyans. However, Mully’s story is ultimately heartwarming, with the postscript about his family and his efforts offering a balm to the pain.

While First Match is more ambitious than most films in the genre, it still provides moments to cheer our complicated heroine, whether she's on the mat or off.

Killing Ground is an effective indie creeper that unnerves the audience with its all-too-realistic violence.

Slipaway is a simple and sweet film, occasionally to a fault, but Partnow is a revelation. The material could feel manipulative, but she convinces viewers that every moment is real.

Frequently fun and generally harmless, The Outcasts doesn’t bring anything new to the teen comedy, but that’s the nice thing about the sub-genre for its viewers.

This isn’t an idealized version of romance or L.A. millennials; Kotlyarenko and Nekrasova shine a glaring iPhone flashlight on their characters’ — and their generation’s — flaws.

The movie isn’t just an excuse for the filmmaker to declare his love for “Lethal Weapon”; it dives into family dynamics, focusing on the son’s relationship with his unconventional father with some sweet and more serious moments.

Poop Talk is at its best when the actors and comics are telling jokes and ruminating on the nature of why these jokes are so funny and their appeal is so universal.

For the Birds is kind to its subject, while recognizing the harm she’s inadvertently doing. Animal hoarding is far more complex than most would imagine, but this film handles it with care.

Featuring one of Bill Paxton’s final performances, Mean Dreams is a painful reminder of the actor’s great talents.

“To a More Perfect Union” could be more focused, particularly given its brief running time. However, the larger history behind the gay rights movement may be a helpful primer for those unfamiliar with it. But this doesn’t cloud the documentary’s emotional impact and effectiveness.

With This Is Everything: Gigi Gorgeous, acclaimed filmmaker Barbara Kopple retains her signature intimacy and freedom from judgment of her subject.

Regardless of how far audience members are from their own post-high school, pre-college summer like these teens, there’s still truth and plenty of laughter here that feels specific to their experience yet universal to anyone who’s had a BFF.

Like the man at its center, the film is aggressive and awkward, but there’s a sense of playfulness in how it pokes and prods at the world of independent cinema.

This trip is filled with goofy fun, though it wanders enough to occasionally test the attention spans of those neither young enough nor high enough to be in the film’s target audience.

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.

Not every directorial choice or camera movement works, but this indie drama shines in the silences. The moments between lines of dialogue are the strongest as Cass and Frida sit side by side and look at each other, with expressions and reactions saved only for us.

While its beats are familiar, TV director Jude Weng’s debut feature diverges from its well-worn path when it matters, staying true to its heart and love of Hawaiian culture.

Urban Hymn is so carefully and lovingly made by director Michael Caton-Jones and his leads that it’s hard to begrudge the British drama its familiar premise, especially as you squint at the screen through tears.

It wears its influences on its tattooed sleeve, but this drug-fueled film is still an entertaining watch filled with bold style.

The standard plot may inspire feelings of déjà vu, but the gags and performances in Goldbuster will win over audiences that like slapstick and silliness.

It’s a capably made documentary that argues its case with intelligence and compassion.

Though it’s not without humor, All the Bright Places takes teens’ emotions seriously and will move romantics of any age — in possibly unexpected ways.

More unity of style would have made a better final product, but Kyle’s story — coupled with vibrant cinematography from Schlanser — is strong enough to keep audiences engaged and moved throughout the brief running time.

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.

It’s a slight film, but it’s populated by enjoyable moments and wry observations that will appeal to fans of talky indies.

Rogers Park is populated by real people with real problems, though the dialogue in Carlos Treviño's script doesn't always serve them well. The lines sometimes feel manufactured, but there's real warmth — or frustration or anger, depending on the scene — present in these authentic performances.

[Pappas] and co-director and co-writer Jeremy Teicher have created a funny, sweet movie that explores the struggles of a serious athlete without alienating those whose sneakers are gathering dust in the closet.

Shree’s film offers insight and intimacy, with survivors being incredibly honest and vulnerable, which will help to drive awareness of the problem and how to fix it.

Returning director Michael Fimognari and screenwriter Katie Lovejoy have made a love letter to all of these characters — not just Lara Jean and Peter — and audiences will find it hard not to be smitten too.

This documentary meanders a bit as it goes between time periods, but it’s never less than entertaining and illuminating.

For those who like their jokes on the cruel side, Goran is a darkly comic treat that is a far better experience for the audience than its characters.

Driven, the year’s second DeLorean-inspired film, veers from glib comedy to character-driven drama to crime thriller, but director Hamm always has his hands on the wheel.

McColm and Day show promise as filmmakers, even if not everyone will be into their off-kilter look at the world. Birds Without Feathers hatches fully formed, though the resulting film’s absurdity will have limited appeal beyond its niche art-house audience.

Everybody’s Talking About Jamie is big-hearted, with as much desire to put something good in the world as its hero wants to express himself.

Featuring footage from the last six decades, All Governments Lie is a timely, convincing documentary that will cause audiences to question what they see and read.

Class Rank is a late bloomer that takes time to find its footing, but once it does, it proves to be as stealthily likable as its characters.

The script from Rideout and co-writer Josh Epstein may follow a standard high school comedy structure, but they bring something fresh to the genre with their enjoyably geeky approach.

The Weekend is as easygoing as its title implies, a loose, lovely complement to Meghie’s more polished studio film “Everything, Everything.”

Depraved is smart in its commentary on everything from the evils of the pharmaceuticals industry to the terrors of PTSD, but there’s real heart and empathy here too. Skeptics might question whether Adam has a soul or not, but Fessenden’s film clearly possesses one.

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

Black Christmas is a fun film that gets its kicks out of literally smashing the patriarchy.

The Map of Tiny Perfect Things mingles happiness and sadness as easily as it does genres, ultimately resulting in a film that is its own little joy.

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.

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.

Director Kijak deserves credit for constructing an engaging narrative that will have the uninitiated crossing their arms in an X in solidarity by the end.

What's most effective about the film isn't just the events at Porter-Gaud or their aftermath; it's Tolmach's emphasis on the disturbing truth of how often abuse like this is allowed to occur.

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.

Hearing Is Believing could have offered more insight into Rachel’s experience, but instead it invests in the action of its title, including long stretches of witnessing Rachel at the piano and on various other instruments.

As biopics go, Marie Curie is a beautifully rendered sketch, rather than a fully detailed painting.

It digs deeply into youth homelessness, as well as its roots in the foster care system, LGBTQ discrimination and sex trafficking.

Piranhas drags in moments, but it jumps from scene to scene as quickly as the boys weave through Naples on their scooters. The film races at speeds so fast that viewers won’t find themselves bored, even if they’re jarred a bit by the transitions.

This character-driven thriller gives specificity to small scenes, engaging the audience in each moment.

Catfight is the type of blackly comic film that works to alienate some viewers with its over-the-top approach and its unlikable characters. But those who enjoy its dark humor will cackle with mean-spirited delight.

Troop Zero is bursting with personality and stylistic flourishes; it might be too twee for some, but it’s better to let yourself be won over by its sincerity and sweetness, tempered by just enough sadness and quirk.

Like its characters, Duck Butter is imperfect, but unlike human objects of our affection, it’s attractive despite its flaws rather than because of them.