Kimber Myers

Blue Gold: American Jeans is intermittently engaging, but its attempt to weave together the journey of vintage clothing dealer Eric Schrader with the history of the apparel ultimately falls apart.

As impactful as its rarely told story might be, “Trezoros” would have been better served by a shorter running time or a more focused approach to its central story.

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.

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.

It’s a movie-length cliché about the type of love that explains why drugstores are stocked with cheap, forgettable Valentine’s Day gifts bought by teenagers and the immature at heart.

Ultimately The Ranger promises more than it delivers.

Corddry’s Lou was an enjoyable, over-the-top asshole in the first film, providing most of its humor, even while surrounded by an equally strong cast. However, here, he’s just a truly disgusting human being. Worse still, he’s not that funny.

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.

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.

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.

The well-intentioned comedy never fully comes together to make a cohesive film, but there are glimpses of something interesting amidst its flaws.

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 vibrant visuals contrast with a muddled narrative, leaving the audience less satisfied than the characters.

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.

Though the plot gets points for originality, there may be a reason why no one has told this story before: it’s ridiculous. But Take Care occasionally succeeds with funny dialogue and performances from Leslie Bibb and Thomas Sadoski.

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.

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.

While it’s an occasionally funny film with good performances from its stars, it’s poorly and cheaply made.

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.

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.

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.

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.

Even with all of Haddish's hard work, she still can't clean up the mess she's landed in.

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.

This is largely a well-made movie from the technical perspective, but a stronger hand in the editing room would’ve made for a more watchable one.

Well-shot and well-intentioned, this drama will likely please its core faith-based audience who won’t roll their eyes at the protagonist’s name or the earnest, hackneyed dialogue. However, most others will find the movie’s script from Gianna Montelaro bland and lacking both nuance and specificity.

The fifth film in the series still executes creative kills; if only the same attention were paid to the rest of the movie.

Thailand is lovingly shot with an eye for its vibrant colors, and there are some late scenes that show an impressive style from Green. Not everything in the script shows that same care, but this is still an interesting, if not wholly successful first feature from the star.

Writer-director Mark Murphy has made the fun-house version of beloved big-screen Britcoms, with a particular nod to the classic Four Weddings and a Funeral, but none of the grace. His script, written with Sabrina Lepage, is the cinematic equivalent of lad lit, and it lacks the depth of the genre’s best from authors like Nick Hornby.

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

Dhont’s film is a strong debut from a technical angle, but it lacks the humanity necessary for a story of this nature.

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.

This is all fascinating in isolation, but transitions between stories and the experts’ insights never feel cohesive. The Portal also lacks the depth to fully engage — and convince — the viewer.

The Intruder is a blunt but effective instrument. This thriller lacks subtlety and craft, but it succeeds at what it’s intending to do: keep the audience stress-eating popcorn for 100 minutes and leave entirely satisfied with the experience they just had. It’s not a good movie, but boy, is it fun.

Elephants almost works, but it self-destructs with as much frequency as its damaged 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.

Unfortunately, this Australian horse racing film remains a standard underdog narrative that fails to rouse the audience from their seats, despite the best efforts from its cast and a few charming moments.

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

Seeds might be classified as horror, but its most disturbing element isn’t what audiences expect from the genre.

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.

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.

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.

Round of Your Life is unlikely to result in any conversions — to faith, golf or focused driving — but at least it won’t have viewers throwing their clubs in anger.

The oily slick of sin across the surface of this film isn’t what makes it wickedly fun; it’s the utter devotion to its bonkers twist, at once defying logic and good taste. Serenity knows it’s trash, but that’s not to say that it’s not entertaining trash.

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.

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

The sequel to “Divergent” is the cinematic equivalent of the KFC Famous Bowl: a nutritionally devoid mishmash of elements and past films that somehow manages to be less than the sum of its parts once cobbled together.

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.

A few strong moments from its stars brighten the film, but it’s never more than a mildly enjoyable diversion.

Like a wrestler struggling to balance his real-life and in-the-ring personas, the grappling comedy Heels feels torn between its dual personalities, one warm, one coarse. Though individual parts work, this indie film from actor-writer-director Ryan Bottiglieri never fully unites its various elements and disparate tones into a well-crafted whole.

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.

Unfortunately, the film doesn’t fully explore its big ideas or give its talented cast dialogue to match.

As a debut feature it’s a big swing, and a miss, but there’s also just enough to suggest that Wakefield may connect in the future.

Individual moments work, but there’s little to tie them together in a cohesive narrative.

Beauty Bites Beast does lessen its usage of narration and animation as the film gets going, but the damage is already done. It blunts its own effectiveness by over-embellishing stories and facts that could have stood on their own.

Beyond the strength of the visuals, there’s promise in the young cast that you see glimpses of here. ... However, it’s never enough to make “Gully” worth watching. Its raw, gritty approach feels like an effort from the filmmakers, but it’s mostly work for the audience to endure.

The bland, boring Paranoia does little to distinguish itself and isn’t good (or even enjoyably bad enough) to be passable even as Saturday afternoon cable fodder.

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

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.

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.

It flails for the heartstrings, but instead of reaching them, it only tugs at that muscle that makes you roll your eyes at its old-fashioned, melodramatic attempts at emotion.

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.

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

Miss Bala fails both when judged on its own merits and when compared to its predecessor. Just like Gloria in the film itself, Rodriguez is the only hero here. She works hard to elevate the material, but both she and her character deserve so much better than this.

Other than the enjoyably silly banter between Damon and Pascal, there are few moments that endear you to anyone on screen. The movie’s tone veers from bombastic to goofy with speed but little grace.

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.

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.

[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.

Because we’re living in the worst timeline, these actors and concept are wasted in a movie that lacks spark, flavor, spice, and generally anything that generates or even resembles substantive heat.

The Best of Me features actors who are playing well above their material, but Monaghan and Marsden aren’t enough to save this film.

A Billion Lives employs a variety of experts in relaying its message, but it sometimes feels like a statistic-filled, 95-minute commercial for the vaping industry rather than a feature-length documentary.

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.

Melodrama and an overstuffed plot often overshadow the genuine feeling here.

Kendrick’s film eventually finds its legs in the final stretch, with an emotionally effective conclusion that might persuade even the cynics to its cause. Whether it converts them to running or to Christ will depend on the viewer.

Color Me You lacks details that would make its characters, their relationships and their actions feel real.

There’s real ugliness here, with the creative torture visited on the victims being enough to unsettle all but the most hardened of horror fans. Unfortunately, the ugliness isn’t solely in the on-screen violence. Transphobia and misogyny flow through the film as much as blood, staining what might have been a solid genre effort.

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

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

Lost Fare aims to tell a story that’s at once dark and heartwarming, but it never balances these two contrasting ideas. There is genuine feeling here, but the dialogue and plot make the proceedings plodding and contrived.

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

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.

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.

Though the family-friendly comedy has all the good intentions of a motivational puppy poster, it unfortunately also has the same level of intelligence and plot.

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

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 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.

South Central Love tries to deal with heavy issues with grace, but its clumsiness undercuts its message.

It earns points for not being overly pious, but there’s little depth in its exploration of one man’s spiritual evolution.

Despite the Falling Snow is ostensibly a love story set against a Cold War thriller backdrop, but it features no heat and little tension.

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.

From the casting of Centineo to the climax at a school dance, The Perfect Date feels engineered by Netflix algorithms. The resulting film, directed by Chris Nelson, feels as inauthentic and unsure of its identity as its hero.

The problems may lie in Todd’s novel, but regardless, characters act illogically, as though written by someone who napped through most of Intro to Psych and skipped English 101 altogether. Character motivations go either unwritten or left on the cutting room floor.

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

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

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.

Its bubbly tone is often at odds with the casual cruelty present. Status Update layers in a message about social media's filters and fakery, but it isn't enough to make this a movie worth sharing

Director Lior Geller brings an aggressive energy and jittery style to this action movie, but his sketch of a script feels like an all-caps reactive tweet to some news story about MS-13, a real problem in the D.C. area.

Despite its flaws, The Samuel Project is likely to make an impact on open-hearted audiences, with extra credit due Linden for an authentic performance in line with the actor’s body of work.