Kimber Myers

The Lears is a witlessly profane attempt at dark comedy that is beneath the talents of everyone on screen.

As bland as its title, Something is a horror film with few scares and a mystery without answers.

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.

Sex Trip tries to tell its audience that what’s inside is what matters, but this comedy is rotten at its core and sure to offend most people unlucky enough to watch it.

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.

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.

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.

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.

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.

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

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.

For her directorial debut, Vilaysack has made an authentic documentary that deals honestly with issues of identity, immigration and family. There’s little self-editing here, giving the audience insight into her pain, an experience that is both moving and uncomfortable in its raw state.

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

There’s something special here, but it’s surrounded by drudgery.

Everyone is terrible in Extracurricular Activities, a dark comedy without any laughs and a mystery that doesn’t need to be solved.

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.

Into the Mirror is deliberately opaque, for better or worse, more concerned with images and mood than concrete details.

Though Skin in the Game is earnest in its attempts to shed light on human trafficking, the good intentions are buried under a thick layer of grime from its trashy script.

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

Directed by Sean Mullin, this is 83 minutes of marketing for mega-brewer Anheuser-Busch InBev, but it’s made with enough skill that it might bring some former fans back to the fold.

Repetitive lyrics, nonsensical camera angles and incomprehensible edits will leave viewers feeling anything but positive.

This is a deranged nightmare of wildness, as full of laughs as it is arterial sprays. It won’t be everyone’s cup of thé, but its joyously vulgar title probably deters those likely detractors anyway.

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

This teen musical comedy is set at a girls performing arts camp, but it never convinces the audience of anyone’s talent.

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

McColm and Day show promise as filmmakers, even if not everyone will be into their off-kilter look at the world. Birds Without Feathers hatches fully formed, though the resulting film’s absurdity will have limited appeal beyond its niche art-house audience.

Wallflower is a grueling viewing experience at times, and it never truly justifies its existence and the audience going through that pain.

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

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.

Travis Hodgkins’ script strives to inspire, but it’s trite even for a drama about the magic of Christmas. Unfortunately, A New Christmas receives little help from either the amateur acting or first-time director Daniel Tenenbaum’s hand.

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.

Low-key indie First Love has some interesting but fleeting moments in its story of twins in crisis, but it feels like a first draft whose script could have used more fleshing out, particularly in the characterization of its leads.

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.

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

This ambitiously titled documentary never really makes the reasons for its existence clear.

The vibrant, absolutely vital documentary “Martha: A Picture Story” introduces audiences to the now-septuagenarian photographer as she’s suiting up for a night out, strapping on a backpack with her camera to tag along with taggers, keen for the perfect shot and to avoid getting caught.

This is a messy, riotous film worthy of Lunch herself, and just like Lunch, it isn’t asking to be liked.

The result is as poetic as it is insightful as the Yanomamis’ current experience coexists onscreen with their mythology.