Kimber Myers

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.

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.

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.

What makes The Redeemed and the Dominant so engaging isn't the hulking specter of steroids; it's the competitors' feats of strength and speed and their powerful personalities to match.

Augie's challenges and efforts are moving, as is Lynne's devotion to him. Unfortunately, the film lacks consistency in its structure, and it glosses over some moments and people without explanation.The treacly score doesn't merely nudge viewers toward emotion, it shoves them.

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

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.

But Deliver Us From Evil has no tonal cohesion, and the amateur editing from Coates only exacerbates the issue.

Love, Simon is filled with details and specificity, making Simon’s story feel real and authentic in each moment, from the music he listens to to the costumes seen at a Halloween party, elevating it above what could have been the after school special version of the same story.

7 Guardians of the Tomb should be a B-movie blast, but it never seems aware of its own silliness.

Ben Parker's feature directorial debut never takes full advantage of its small setting, resulting in a grim thriller that isn't as compelling as it might have been in stronger hands.

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.

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.

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.

There are a few early laughs, but the film from first-time director Brody Gusar is a tonal mess with feelings of disgust as its sole constant.

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.

Ostensibly aimed at an adult audience that craves equal parts romance and raunch, Fifty Shades Freed appears to have been written by a teenager – and not just because of its groan- and giggle-inducing dialogue, lack of emotional investment and thinly drawn characters. There’s no knowledge of any element of how the world functions, particularly in its approach to relationships.

At just 81 minutes, The Cage Fighter has been whittled down to its fighting weight, trimmed of every ounce of fat. Unay tells Carman's story without interviews or narration, but the film lands every punch without their help.

Horton shows clear affection for the genre, but only the most indiscriminate horror fan could love this lumbering five-headed monster.

It wants to be a commentary on the depravity of Hollywood and what people find entertaining, but instead it mostly just mirrors the media's habit of using sexual trauma as a plot device and surviving such horrors as a character trait.

Writer, director, producer and star Stephen Kogon is clearly trying his hardest to create an entertaining film fueled by a passion for tap dance, but what’s on screen demonstrates an utter lack of filmmaking knowledge.

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.

With an affection for nerd culture that is inversely proportional to its budget, this lo-fi sci-fi comedy is destined for laugh-filled late-night viewing.

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.

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.

Its story of redemption means well, but its good intentions can't compensate for characters that are often unlikable and unbelievable.

It is a master class in how not to make a film, beginning with lessons in writing an unfunny script, leaving foundation makeup visible on actors’ faces and sound editing that overemphasizes a bland score.

Where In Between does succeed is in showing the relationship between the women and in refusing to judge them for their choices.

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.

This Russian drama is at once poetic and painfully realistic as it explores a century of conflict and its broader impact.

It’s not unpleasant, thanks to the energetic dialogue and songs, but it lacks the fun and focus that made “Pitch Perfect” such a surprise hit worthy of repeat viewings.

There isn’t a lot of insight or depth regarding the bestselling author’s life and experience beyond his career achievements.

This family film feels episodic and entirely aimless. Set pieces that could have been fun feel rushed, and it’s unclear whether the problem originates with moments that weren’t animated or if connecting scenes and shots were cut in post-production.

The documentary is at its strongest when it leans into its variety of subjects, rather than when the director centers on his own history and training. However, he skims over both, and the lack of depth and focus hurts his argument.

Even a cast with this many award wins and nominations can't salvage a script that will have viewers audibly sighing, rather than laughing.

As awful as the events of 1944 were for her, there’s ultimately hope in her story in how it fueled a movement and continues to inspire and push people today.

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.

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

The script blunts its own emotional impact with coincidences, odd choices and an ending that feels too neat, even for an inspirational film of this nature.

As a screenwriter and director, Goldbloom is green but well-intentioned, with later moments redeeming some early ugliness.

With her debut, Wells demonstrates that she's more than a comedic talent with a wonderfully weird sensibility. As a writer-director, she puts her own stamp on a standard premise, resulting in an unconventional but genuinely enjoyable film.

As unpleasant and inert as its protagonist, "Amanda & Jack Go Glamping" is a romantic comedy that lacks both love and laughs — and likable characters.

No Greater Love may leave viewers emotionally wrecked, but they’ll emerge with additional respect and gratitude for the soldiers’ sacrifice.

Survival stories aren't rare in cinema, but Garcia's journey will make even the most jaded viewers drop their jaws.

Atomic Homefront is a both a fiery indictment of systemic inaction and a tribute to the work of those battling for their families’ safety.

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.

On a single day, the protagonist of The Truth About Lies is fired from his job, his apartment burns down and his girlfriend dumps him. He has it easy compared to anyone who actually watches this thoroughly unpleasant, unfunny comedy.

While its predecessor at least pleased his fans, writer-director-star Perry’s latest offers few laughs and embarrassing post-production work.

At its heart, Jane is powerful feminist statement about a woman’s passion for and dedication to her career in the face of structural opposition.

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.

It’s a well-intentioned film that wants to help people live healthier lives, but it sometimes appears closer to a feature-length infomercial than a legitimate documentary.

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

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.

This is an imperfect, if entirely beautiful, film.

Directed by Michael Achilles Nickles, the movie can’t maintain a consistent tone, veering from earnestness to silliness like a bad slice.

There’s little fun to be had for the audience other than in some nicely executed special effects.

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.

It’s a stunning feat of technology and artistry.

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.

The audience will likely spend most of the film squirming and grimacing in recognition at Aaron’s awfulness — especially when the film rewards him with an ending that is far kinder than the character deserves.

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

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.

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

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.

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.

The movie attempts to comment on reality-show culture, but it offers little insight beyond its ill-conceived premise. With suicide at its center, The Show is both tone-deaf and a tonal mess.

This slick and stylish exterior belies a rotting core underneath. Ryde thinks little of its characters or its audience; it's an exercise in misanthropy with a nasty streak of misogyny running through it.

The director gives the audience a story that takes off in as many directions as the prison corridors, leaving us lost and dazed. But unlike the characters, the viewers never feel a moment of fear.

9/11 trades on the emotional weight of its namesake day, manipulating audiences into feelings that have nothing to do with the mess that is actually on screen.

There’s no artifice in this documentary, with the director simply presenting the women’s lives as they tell them, one after another. Slow-moving and sad, Twenty Two isn’t easy to watch, but it isn’t meant to be.

The biggest problem for Gun Shy isn’t its ridiculous premise or its frequently silly tone; it’s that it doesn’t fully commit to either.

At 107 minutes, Tulip Fever has been trimmed of every ounce of fat. But connective tissue, muscle and even the heart are gone too, leaving a lifeless frame.

Second-tier airline safety videos are more entertaining than this fourth-rate comedy. Flight attendants on Southwest’s less-traveled routes are far funnier than the cast here. Watching a lonely suitcase circle a baggage claim conveyor belt is more diverting.

The Temple has competent visuals with a few particularly nice shots that establish mood. However, its script is poorly structured and opaque, offering little insight into what is terrorizing the tourists and why.

As writer, director, producer, star, editor and more, J. Van Auken brings a cool central concept and strong visuals, but the film ultimately never finds solidity.

Visually, Ghost House makes good use of its setting, offering Instagram-ready images of its location shot by Pierluigi Malavasi. Unfortunately, Thai people are used in ways that rely on cultural stereotypes, a blemish on an otherwise effective and unsettling film.

While there are some cool creature effects and committed, physical performances by the actors playing the monsters, the movie’s worst sin isn’t the found-footage rules it ignores. Instead it breaks the cardinal rule of the larger horror genre, running 95 minutes without a single scare or moment of dread.

Women Who Kill is delightfully specific in its approach to its characters and their community. It takes a familiar theme of romantic comedies — the fear of commitment — and gives it new life by adding a morbid element to the mix.

Liza, Liza, Skies Are Grey lacks a sense of what is essential to its story. It dwells on insignificant moments and inserts transition shots without logic, but skips over scenes or dialogue that could support Liza and Brett’s characters, their relationship and the choices they make.

This is a beautifully shot film whose visuals work well with its philosophical approach to life and relationships.

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

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.

Strouse demonstrates a contagious affection for his characters, and he invests in them in a way that makes us do the same.

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

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

Somehow worse than its ridiculous title, Awaken the Shadowman is sillier than it is scary.

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

Blind stumbles with unlikable characters and a lack of depth, leaving audiences simply wishing for its ending, happy or not.

Italian director Roberto Andò’s film feels entirely manufactured, distancing itself from its audience and blunting its points in the process.

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

Though there are some cool moments, the film lacks the connective tissue to make an audience invest in Xia Tian’s efforts.

The film alternates between triumph and tragedy, but there’s never a moment that doesn’t feel intimate and authentic in its 96-minute running time.

The film is a moving experience for both its subjects and the audience.

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.

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.

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.

Unfortunately, the worst fault in this horror movie isn’t the amateur performances, beginner-level editing or the special effects; it’s the dreadfully dumb script.

This mess never knows whether it’s a mob movie or a raunchy comedy.