Kimber Myers

The script misses the spark of better family films with its overly complicated plot and lackluster dialogue. However, "The Son of Bigfoot" features some nice animation, particularly in its action scenes, and its moments between father and son are especially sweet.

Centering on a vibrant performance by Horta and lively musical moments, this Brazilian biopic from director Hugo Prata celebrates Regina's talent, but it never gives real insight into who she was as a person or the historical period that fueled her work.

With its authentic emotions and good intentions, Herz's drama will still likely inspire empathy in the more sympathetic members of the audience who can see past its filmmaking flaws.

Class Rank is a late bloomer that takes time to find its footing, but once it does, it proves to be as stealthily likable as its characters.

For the skeptics, the film doesn't only focus on how chanting makes practitioners feel, though that is its most compelling, quiet argument. For those who meditate, it also reveals the physical changes that are measurable in brain scans.

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

Compassion, warmth and tenderness radiate off the screen, thanks to the guiding hand of Pendharkar and the nuanced performances of Hollyman and Arison.

Its C-movie horror should only be experienced while under the influence when your judgment isn't at its best.

Written by and starring a bleached-blond Blake Jenner, Billy Boy is ambitious in its structure, style and editing, but the final product is disjointed and irritating.

What's most effective about the film isn't just the events at Porter-Gaud or their aftermath; it's Tolmach's emphasis on the disturbing truth of how often abuse like this is allowed to occur.

Unfortunately, while its intentions are as pure as the heart of its heroine, the biography offers little depth or insight into Yadvi. She is presented more as a flawless saint than a human princess in this drama mired in poor narrative structure and few details.

Trying to straddle the space between “Primer,” “Dark City” and “Memento,” 7 Splinters in Time ends up a frustrating trip to no man’s land. Despite an ambitious premise and style, the neo-noir sci-fi indie is a fractured narrative that can’t achieve what its lofty ideas intend.

This dreadful indie comedy rarely replicates life, instead offering dialogue that someone thought was funny said by awful characters in the midst of inorganic situations.

“To a More Perfect Union” could be more focused, particularly given its brief running time. However, the larger history behind the gay rights movement may be a helpful primer for those unfamiliar with it. But this doesn’t cloud the documentary’s emotional impact and effectiveness.

Christian Audigier the Vif lacks the strong narrative structure that would make it a better documentary, and it often skips details about Audigier’s life and experience that might have offered deeper insight into the designer.

This is writer-director Matt Sivertson’s first film, and he and his cast and crew are able to offer only a maudlin drama that inspires eye rolls rather than tears.

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.

The movie isn’t just an excuse for the filmmaker to declare his love for “Lethal Weapon”; it dives into family dynamics, focusing on the son’s relationship with his unconventional father with some sweet and more serious moments.

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.

Unfortunately, Hell Mountain lacks basic cohesiveness in its storytelling, taking strange, unnecessary detours and not fully developing its details.

Action star and martial artist White is full of his usual charm and wit, but he and his sparks of humor feel out of place in this otherwise dour film.

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.

Last Curtain Call may lament the emptiness of its protagonist’s hedonistic and selfish lifestyle, but the film itself offers few pleasures with its poor pacing and cliched script.

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.

This character-driven thriller gives specificity to small scenes, engaging the audience in each moment.

Actress and screenwriter Jessalyn Maguire brings her own challenges with anxiety and depression to both the lead role and the script, but the good intentions don’t create a good film with this psychology-driven drama.

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.