Kimber Myers

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

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.

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.

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

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.

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

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.

There’s no shortage of areas to explore in philosophy, science and religion, but The Man From Earth: Holocene would rather spend its time with unlikable characters than deal with complex concepts.

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.

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.

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.

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

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

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.

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.

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 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.

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

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

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

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.

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.

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.

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

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

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.

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.

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