Kimber Myers

Despite chemistry between its attractive leads, 5 Weddings is a hot mess that deserves to be left at the altar. Inorganic and implausible, this Bollywood-inflected rom-com features little comedy and even less romance.

The documentary lacks the polish of films made by a more experienced team; however, its endearing cast of students and teachers largely make up for its flaws.

Underneath the layers of formaldehyde-treated flesh, there’s real heart and deserved wonder at the human body.

Though her script overloads its characters with confusion to the point of farce, there’s still a warm, authentic core that drives this well-meaning effort.

Individual moments work, but there’s little to tie them together in a cohesive narrative.

Madness, Farewell is best when introducing viewers to Liza’s simultaneously dark and sunny world, but later it turns into more of a standard quirky indie than its premise suggested.

It’s entertaining but slight, particularly as it bulks up with the post-credits inclusion of the video.

Rawal’s well-shot film is engaging — particularly for those with an interest in running and/or meditation — but the lack of balance between each of the four stories ultimately throws the film off.

Roll with Me avoids the tropes that narratives about people with disabilities often offer, instead giving a fully developed picture of a man who wants his family to be proud of him and his accomplishments.

Its incoherent script is packed with more “Star Wars” references than Kevin Smith’s entire oeuvre, but none of the laughs.

There’s clear affection for the ocean and its inhabitants in “Bernie the Dolphin,” but the movie’s script from Terri Emerson and Marty Poole is on the level of educational placards at a second-rate aquarium. It’s informative, but there’s little entertainment in director Kirk Harris’ film.

Elephants almost works, but it self-destructs with as much frequency as its damaged characters.

Not every stylistic choice works, with some moments distracting from the film’s message and occasional shots that don’t feel organic. But Brown’s journey remains compelling and absolutely necessary for the audience to see, as do the stories of his fellow veterans.

Though its script lacks moments that bring cohesion to its characters and timeline, Elenie remains a woman whom audiences can empathize with.

John David Ware’s directorial debut is sloppy in its editing and camera angles, though the script from Bonné Bartron gave him little to work with. Unbridled stumbles further with clumsy product placement, making the film seem less sincere in its efforts despite its good intentions.

Both awe-inspiring and mouth-watering, The Heat: A Kitchen (R)evolution celebrates seven female chefs forging ahead in a male-dominated industry.

Directors Tomer Almagor and Nadav Harel simply let the cameras roll, giving Neilson enough rope to hang himself with his actions and words.

It’s as unfocused as its heroine, roving between subplots, but there’s still plenty to admire in this frank, funny film.

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.

One Million American Dreams lacks a cohesive structure, but it is bound together by the tears and grief of the people left behind.

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.