Kimber Myers

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.

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.

[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.

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.

Adrift avoids the perils of most survival stories, thanks not only to its strong cast and well-structured script but to Kormákur who manages to succeed at capturing the tone of both the intimate moments and the ones where a building-sized wave looms over Tami and Richard.

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.

The Fate of the Furious is almost impossible not to like. It achieves exactly what it sets out to do, successfully lighting up the brain’s pleasure centers at each opportunity with a variety of tools in its arsenal.

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.

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.

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.

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.

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.

Ultimately The Ranger promises more than it delivers.

Deftly balancing humor and grief, The Bachelors is fueled by wonderfully human performances and fully realized characters.

Lady Bloodfight would be knocked out immediately if matched against classics in the genre.

Swelling with humanity and romance like the crescendo of an aria, “Bel Canto” is a moving meditation on the power of love, music and proximity.

Director Damien Power occasionally tilts the movie into horror territory, with some particularly grisly violence that might shock viewers who think they know where it’s going.

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

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.

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

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.

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.

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.

A film that deserves scrutiny for its treatment of its young female protagonist.

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.

The first two films faltered in their final act, and Chapter 3 experiences some of that as well, though it never achieves their heights. There are some nice scares, but a few formerly central characters are basically forgotten in favor of wrapping things up.

Though 47 Meters Down perfunctorily succeeds in its aims to terrify the audience, it’s not as much fun as it could be due to it’s beyond brainless script, its casual sexism and its idiot characters.

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.

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.

Adapted by Jesse Andrews, the movie speaks toward the truth that appearances — including one's race and gender — shouldn't matter in love and relationships. It's a thought-provoking concept that makes "Every Day" more ambitious than your average teen romance, which only makes it all the more disappointing that it simply remains an average teen romance.

The Ticket exists better as a parable than as a true-to-life drama.

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.

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

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.

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

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.

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

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.

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.

The fine cinematography, set design and costumes only serve as a distraction from the sparsely drawn story and uninteresting characters.

Scaborough doesn’t try to shock audiences, but its attempt at a surprise is sadly predictable.

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

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

There’s little that’s memorable here and less to latch onto, beyond the foregrounding of an Asian woman in American history and Chau’s performance.

Despite its intentions to get close to Mercury, Bohemian Rhapsody is as intimate as a sold-out stadium show, with none of the accompanying power.

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

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.

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

Utterly dull thriller Drone tries to raise ethical and moral questions about modern warfare, but the audience can only dwell on the illogical plot and unsympathetic characters — if they can engage at all.

The script from director Scott Smith and co-writer Kevin Guilfoile thinks the rivalry between the two collectors is enough to sustain the narrative, but it doesn’t devote much of its energies to developing the relationship between Alan and Paul.

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

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.

For all its faults – both in its construction and the execution of its themes – I Feel Pretty still manages to be fun in the moment. It’s sweet and silly with a scene-stealing performance from Williams, but it ultimately could learn from its own lessons. It’s not confident enough in its central premise, leaving the audience wanting something more.

Crafted with exquisite care in the vein of its subject, though it occasionally feels overly precious (criticism that might be leveled at the restaurant itself by its detractors).

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.

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 is an imperfect, if entirely beautiful, film.

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.

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.

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.

There’s something fresh in Detour, but it’s buried underneath a largely unremarkable movie.

Screenwriter Robert Siegel’s second directorial outing is better as an exercise in nostalgia than as a film, but it deserves some praise for its faithful recreation of a time and a place.

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

Summer ’03 bounces between plot lines and themes, shuffling through elements of better films with a lack of focus and little insight into Jamie. It never transcends its teen movie origins to become something more.

A dour drama that lacks depth despite all its good intentions.

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.

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.

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.

Asante usually excels at sharing stories audiences haven’t seen before, so it’s unfortunate that this one feels so dully familiar.

Resident Evil: Welcome to Raccoon City” may reward longtime fans of the video games by returning to the series’ origins, but others will find themselves wanting to leave town, much like the movie’s characters.

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.

There’s an absence of character details that could make the central romance of Vincent N Roxxy more believable. Luckily for the film, the palpable chemistry between Hirsch and Kravitz imbues the relationship with realism, even if we don’t have much else to go on.

The Circle is a movie that has all the appearances of working – a solid director, great cast and impressive pedigree – but constantly throws errors. It’s a frustrating viewing experience with little surprise or delight to be found.