Kimber Myers

Melodrama and an overstuffed plot often overshadow the genuine feeling here.

This isn’t a subtle, moody film filled with a sense of unease; instead, jump scares are around every corner. If that’s all you want from a horror movie, you’ll have a very good time — and an elevated heart rate for its speedy 90 minutes.

Wallflower is a grueling viewing experience at times, and it never truly justifies its existence and the audience going through that pain.

The documentary doesn’t hesitate to reveal the dangerous reality facing elephants and the other animals, offering a frank look at their existence in a film that’s as entertaining as it is moving.

Jexi is such a dumb, lazy film that it might have even the most ardent cinephile reaching for their device, ready to defend their defection to the dark side when faced with this clunker of a comedy.

Berk and Olsen’s script only skims the surface of what is really going on here, and yet Villains remains a delightfully slick dip in the shallow end of the pool. You may leave wanting a longer swim, but enjoy the sick fun while it lasts.

McColm and Day show promise as filmmakers, even if not everyone will be into their off-kilter look at the world. Birds Without Feathers hatches fully formed, though the resulting film’s absurdity will have limited appeal beyond its niche art-house audience.

Director Elise Duran brings a background in reality TV to this sub-par rom-com, but there’s little of the real world here.

Seeds might be classified as horror, but its most disturbing element isn’t what audiences expect from the genre.

Scaborough doesn’t try to shock audiences, but its attempt at a surprise is sadly predictable.

Depraved is smart in its commentary on everything from the evils of the pharmaceuticals industry to the terrors of PTSD, but there’s real heart and empathy here too. Skeptics might question whether Adam has a soul or not, but Fessenden’s film clearly possesses one.

The Weekend is as easygoing as its title implies, a loose, lovely complement to Meghie’s more polished studio film “Everything, Everything.”

Like its predecessor, Super Size Me 2 is largely entertaining, with audience enjoyment varying on their appetite for Spurlock’s fun, smug shtick.

This teen musical comedy is set at a girls performing arts camp, but it never convinces the audience of anyone’s talent.

Despite the presence of theoretically interesting elements such as dirty cops, amnesia and money-laundering, Killerman is two hours of pure boredom.

Kendrick’s film eventually finds its legs in the final stretch, with an emotionally effective conclusion that might persuade even the cynics to its cause. Whether it converts them to running or to Christ will depend on the viewer.

Driven, the year’s second DeLorean-inspired film, veers from glib comedy to character-driven drama to crime thriller, but director Hamm always has his hands on the wheel.

Piranhas drags in moments, but it jumps from scene to scene as quickly as the boys weave through Naples on their scooters. The film races at speeds so fast that viewers won’t find themselves bored, even if they’re jarred a bit by the transitions.

South Central Love tries to deal with heavy issues with grace, but its clumsiness undercuts its message.

Because we’re living in the worst timeline, these actors and concept are wasted in a movie that lacks spark, flavor, spice, and generally anything that generates or even resembles substantive heat.

Otherhood does have a few genuine and genuinely funny moments — thanks largely to its stars — but they’re overshadowed by the bad behavior of both the mothers and their sons.

Directed by Sean Mullin, this is 83 minutes of marketing for mega-brewer Anheuser-Busch InBev, but it’s made with enough skill that it might bring some former fans back to the fold.

For anyone interested in politics, religion, American culture or the ever-overlapping space they occupy, this documentary has the potential to move hearts and minds.

Similar to RGB, Raise Hell preaches to the small choir that adored Ivins, but this documentary sings a beautiful new psalm that will reach new disciples and renew the follower faith like a tent revival.

This is often an insightful film, but it’s full of delights for journalism, history, and political junkies alike. It doesn’t fully answer the challenging problem of where the line between the two needs to be, but at least it’s asking the right question.

Repetitive lyrics, nonsensical camera angles and incomprehensible edits will leave viewers feeling anything but positive.

This is a deranged nightmare of wildness, as full of laughs as it is arterial sprays. It won’t be everyone’s cup of thé, but its joyously vulgar title probably deters those likely detractors anyway.

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.