Kimber Myers

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

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.

The Fault in Our Stars wins points for being more complex and stylish than most similar films feel they need to be. Most movies with this target audience are maudlin and manipulative, but Boone's film never feels like it's trying too hard to win our tears—or our laughter.

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.

The documentary doesn’t hesitate to reveal the dangerous reality facing elephants and the other animals, offering a frank look at their existence in a film that’s as entertaining as it is moving.

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.

My Love, Don’t Cross That River serves as a testament that romantic love can endure, particularly when it is nurtured by people who care deeply for one another and don’t hesitate to show that feeling with every breath.

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

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

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

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.

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.

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.

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

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.

This is a subtle, slow burn of a film that refuses to bow to audience expectations in either its small moments or its overall arc.

There’s more sex than dialogue here; it’s a small win because the clunky dialogue and its flat delivery from amateur actors is nigh unwatchable, not that the sex scenes are much better.

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.

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.

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

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 Midwife is often unexpectedly funny and sweet. The film is more a celebration of life and its pleasures, big and small, rather than dwelling on death

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.

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

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.

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.

The script finishes up exactly where you think it will, but along the way, there are enough surprises and perfectly delivered lines to make it a blast.

For all its safe choices and standard narrative, The Idol succeeds in communicating its message that the Palestinian people deserve a voice and representation. Its most powerful images somehow aren’t shots of Muhammad’s wonderful singing; instead, it’s the reactions of the Palestinians to those performances and cheering on one of their own.

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

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.

Venus and Serena wins points for sharing an intimate, not-always-flattering view of the sisters that isn’t PR-friendly.

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.

Côté’s film patiently paints a picture of men who are more than their bodies, revealing the emotions beneath the skin and muscles and challenging perceptions about them.

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.

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

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.

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.

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.

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.

Swallow is difficult viewing at times, but it’s psychologically rich and always feels genuine, even in its gorgeously stylized approach to the interior life of its complex protagonist.

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.

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

There’s emotional complexity, making it work for more than just its key demo.

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.

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.

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.

Amma Asante’s Belle has every element that costume drama fans love, but it elevates a standard love story by adding larger historical implications and giving us a new perspective on the era.

What’s impressive is that despite the sometimes heavy subject matter—divorce, creative crisis and trying to find an affordable 2BR in New York City—Klapisch’s film is light and fizzy, set to a soundtrack of funk and salsa.

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.

[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.

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.

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.

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.

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

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.

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

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.

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

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.

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.

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.

Permission asks difficult questions and doesn't offer easy answers. But while it deals with heavy relationship issues including the validity of monogamy, it manages an easy, seemingly effortless humor that seduces the audience while simultaneously breaking filmgoers' hearts.

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.

Equal parts sweet and tart, director Andrew Fleming’s “Ideal Home” is the cinematic equivalent of Sour Patch Kids.

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.

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.

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.

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.

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

With its uninspired ending, Alien Invasion: S.U.M.1 squanders its cool concept and a compelling, nearly solo performance by Iwan Rheon.

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

This documentary won’t provide an exhaustive view of his filmography or life offscreen, but it paints an impressionistic picture that feels almost experimental at times. Simultaneously arty and artful, it refuses to take the standard approach and it will reward cinephiles who want something different than most film biographies can offer.

This raunchy, female-driven comedy should be able to rely on the strength of its cast, but even the collective talents of Katie Aselton, Toni Collette, Molly Shannon and Bridget Everett aren’t enough to make the movie worth a babysitter’s hourly rate.

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.

Ocean’s 8 is the self-aware frosé of movies; a summer delight, perfectly airy and refreshing, it’s not here to be your cinematic think piece. Ocean’s 8 knows exactly what it’s doing and what it’s trying to achive– showing the audience hell of a good time – and it succeeds marvelously at it, without leaving the audience feeling duped.

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.

If you took “Raiders of the Lost Ark,” mashed it up with some gonzo grindhouse pics, doused it in shaken-up cans of original Four Loko and then lit it on fire, laughing while it burned, you might begin to approach the craziness that is Overlord.

As the film’s sole director, writer and subject, Wang could have used some distance from the material.

The initial draw of Sea Fever might be as a monster movie, but this is a profoundly humane and humanist film whose ideas stays with you longer than the nightmares.

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

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 not a good movie – but that doesn’t mean that it’s not a good time.

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

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.

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.

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.

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

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

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.

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.

Creative Control has a lot to say, and style to spare, but stronger performances and better-drawn characters could have made its message even more effective and enjoyable.

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.

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.

Warmth and intelligence — and a strong sense of both fun and feminism — make Malik’s film worth a watch, and rising star Ali is worth keeping an eye on as well.

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