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.