Kimber Myers

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.

With its solid production values, Unplanned has all the appearances of being a real film, but viewers in favor of abortion rights will find it to be pure propaganda. Writer-directors Chuck Konzelman and Cary Solomon spend more time making their talking points than developing their characters, who exist merely to make their arguments.

What might have worked in theater doesn’t translate here, particularly the repetition of words and phrases that feel true to the original medium but grate here on screen.

The gentle drama Change in the Air is buoyed by its sweet spirit and a strong cast, but it ultimately tries too hard to win our affections.

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.

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.

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

Loserville is somehow two different movies — a traditional teen comedy mixed with a message-driven drama about the dangers of bullying — without enough connective tissue linking characters or scenes to lend it cohesion.

With its saturated colors, swirling camerawork and aggressive techno beats, Sins of Our Youth is rarely dull, but it lacks the emotional resonance that one expects from a film with the death of a child at its heart.

De Clercq’s clear directorial talent gives the film the illusion of respectability, but it can’t remove the sweaty sheen of smarm.

Actor-turned-director Peter Facinelli makes his behind-the-camera debut, and beyond the film’s many script issues, it’s not entirely without its charms. Peter and Daisy might not make sense, but Gibson and Hinson almost sell it with strong chemistry.

Though its obvious message may not translate well outside its intended audience, the converted will likely be entertained by the well-produced package the moving themes are delivered in.

Those looking for inspiration will find it without looking too hard, but those who don’t attend church regularly will be as bored as they would be by a sermon.

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

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

The minimalist approach and premise of Solis should work, but the execution in the script keeps the viewer disengaged, wishing the pod would move more quickly toward its final destination.

Less would have been more here; a less scattershot approach would have yielded a more resonant film.

With its incoherent, episodic script, In Like Flynn lacks the worth of even a minor Flynn film.

Even a talented cast can’t overcome the script from five screenwriters, whose uneven final product is surprisingly bland for all its raunchiness.

Each moment in Always at the Carlyle feels like a pitch. Though it's effective in presenting the hotel's appeal, the salesman's greasy fingerprints linger, a stain which would never be welcome at the pristine spot.

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