Kimber Myers

Everyone here means well and wants to make an epic war film, but it lacks a narrative strong enough to make it essential viewing for those beyond the genre’s fans.

Smith, Nighy, and Dench aren’t delivering audacious, reaching performances here, but there’s still plenty of charm and authenticity.

Unfortunately, the film itself is so determinedly middle-brow with little to dislike other than how eager it is to please and how wary it is of offending. Unlike Hortense’s flavorful cooking, Haute Cuisine is aggressively bland.

Despite all its flaws, it achieves its goal of making the audience laugh, even against their better judgment.

Vaughn’s film is overflowing with big set pieces, but all those epic action sequences amount to a running time clocking nearly two and a half hours – and not much else. Like fireworks, they’re awe-inspiring while you’re watching, but there’s little left to marvel at after the show’s over.

Destination Wedding is bitter, bubbly and ultimately refreshing, the Aperol Spritz to your sickly sweet Amaretto Sour.

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.

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.

It’s successful in its aims and will ably bring the book’s readers and romance fans both joy and tears.

Though it delves into a number of topics beyond fashion, it refrains from going underneath the glossy surface. It will appeal to fans of Wintour’s brand and style devotees, but it likely won’t make too many converts outside her kingdom.

Though How to Be Single marks progress from the standard genre narrative and gives Alice in particular a chance to be herself, it’s not a clean win. But I certainly had fun getting dirty with it.

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.

This horror film lacks the freshness of its predecessor, but its bleak view on humanity and technology, as well as some truly unsettling ideas and visuals, still set it apart from most of its fellow studio genre fare.

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.

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 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.

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

Centering on a vibrant performance by Horta and lively musical moments, this Brazilian biopic from director Hugo Prata celebrates Regina's talent, but it never gives real insight into who she was as a person or the historical period that fueled her work.

The romance lacks the depth that can make a love story feel real, but the performances charm, as does the film’s well-meaning take on culture clashes.

With its authentic emotions and good intentions, Herz's drama will still likely inspire empathy in the more sympathetic members of the audience who can see past its filmmaking flaws.

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.

The script misses the spark of better family films with its overly complicated plot and lackluster dialogue. However, "The Son of Bigfoot" features some nice animation, particularly in its action scenes, and its moments between father and son are especially sweet.

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.

The performances don’t always reach the rawness of the subject, but the film will resonate with many people who have experienced similar crises and help others empathize.

Hotel Transylvania 3 may lack the indelibility of the medium’s best offerings for kids, but hopefully its clear theme of acceptance lingers long after the inoffensive odor of its fart jokes dissipates.

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

Though it’s never really scary, it is appropriately silly and a fun time for genre fans who prefer giggles to gore.

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.

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

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.

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.

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.

It’s surprisingly intimate at times, but we leave without greater insight into its subjects’ world.

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.

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

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.

Its humor is broad, but most of the jokes work for the intended audience — with a few even breaking through to more resistant viewers.

Songwriter is intimate while oddly lacking insight into the artist himself, beyond the heart he pours into his lyrics.

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.

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.

Boasting a higher body count than its IQ, Resident Evil: The Final Chapter is violent, idiotic fun.

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.

Beyond its style, Dementia 13 doesn’t innovate, but it’s a capably made indie that should please genre fans searching for a haunted diversion.

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

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

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.

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.

Director Charles Stone III and screenwriter Chuck Hayward have made an overlong film at 108 minutes that may try the audience’s patience at times, but their movie hits its beats enough to make fans of the genre tap their feet along with the action on screen.

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

Based on Lois Duncan’s gothic young adult novel, Down a Dark Hall is entry-level horror for teens. The scares might not satisfy those old enough to vote, but it should provide mild chills for its target audience.

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.

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

The end result is sprawling and often unfocused, with a reach that exceeds its grasp.

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

Audiences who care more about how a film makes them feel than if it fully works will be rewarded. But those who need more will find that Discreet lives up to its name a bit too well, never fully offering answers to all the questions it asks.

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

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.

The movie draws you in with its tender exploration of relationships and authentic performances, but pushes you away with pointless slo-mo sequences.

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.

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.

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.

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

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.

Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.

The Oslo Diaries is at its most gripping – and its most devastating – in its coverage of how close to peace the two sides came but have still yet to reach.

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.

When Reinhardt’s fingers aren’t dancing across guitar strings, it has all the vitality of an educational film shown by a substitute teacher. It comes alive in those fleeting moments, but they are too infrequent to keep audiences engaged.

It would serve its audience better if it paid more attention to a stronger structure and a believable plot, but its flaws don’t keep it from being affecting for those who like their love stories on the lachrymose side.

Isn't a bad freshman effort, but it doesn't offer anything to set it apart from dozens of other indie dramedies.

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

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 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.

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.

Generational Sins does deserve praise for avoiding the saccharine tone that plagues so many other films about faith, though its script may fail to convert nonbelievers.

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.

The country-fried romance written and directed by Bethany Ashton Wolf becomes a victim of self sabotage as it nears its (predictable) conclusion, removing any good will it created in its first half.

The film is effectively scary, filled with plenty of jump moments and a few slow-burning scenes, but the scares aren’t enough to balance the poor writing and lack of imagination.