Kimber Myers

“Sword of Truth” is full of seemingly effortless charms and quirks, but Shelton keeps it from overloading into full-on twee. This is a small film in every way: one that sometimes lacks precision, but its casual feel really works within its world and among its characters.

The end result is sprawling and often unfocused, with a reach that exceeds its grasp.

Hirsh Bordo’s first film isn’t ambitious in its style or structure, but it is entirely effective at communicating its encouraging message to the audience.

This isn’t simply a damning indictment of the nation; it is a hopeful celebration of one woman’s activism and kindness in the face of her own struggle with AIDS.

This isn’t an overly sentimental story; those expecting the emotional swells of other British fare like “Pride” and “Kinky Boots” should adjust their expectations. The Lady in the Van is a more buttoned-up narrative, but it’s no less engaging thanks to Smith, Jennings, and Bennett’s script.

This debut marks a bright future for Vives and is an excellent entry in the romantic comedy format that doesn’t lose sight of who its heroine is the moment she falls for someone.

Sims-Fewer and Mancinelli have crafted a morally complex film that mingles sex and violence in ways that are meant to make the audience uncomfortable.

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.

The story is thematically muddy at best and problematic at worst in the ways it handles Sparkle’s newfound independence and the horrors she experiences. Despite these issues, the arresting images of She Paradise and the distinctive voice of its director mark Cozier as a filmmaker to watch.

While its beats are familiar, TV director Jude Weng’s debut feature diverges from its well-worn path when it matters, staying true to its heart and love of Hawaiian culture.

Gentle but sharply observed, Good Posture is an uncommon cinematic look at an intergenerational female relationship.

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 Fault in Our Stars wins points for being more complex and stylish than most similar films feel they need to be. Most movies with this target audience are maudlin and manipulative, but Boone's film never feels like it's trying too hard to win our tears—or our laughter.

The documentary feels more like a mystery and almost like fiction itself as it unravels the multiple layers behind Amina’s real identity. The revelation is jaw-dropping and infuriating, and the outrage only increases as each additional detail is uncovered.

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.

While First Match is more ambitious than most films in the genre, it still provides moments to cheer our complicated heroine, whether she's on the mat or off.

My Love, Don’t Cross That River serves as a testament that romantic love can endure, particularly when it is nurtured by people who care deeply for one another and don’t hesitate to show that feeling with every breath.

This documentary meanders a bit as it goes between time periods, but it’s never less than entertaining and illuminating.

Though Fight for Space doesn’t innovate artistically, first-time director Paul J. Hildebrandt’s documentary makes strong arguments for scientific innovation.

This is a moving documentary that treats its subjects with the dignity and respect they don’t always get but certainly deserve.

Missing Link is a fun, if uneventful and uninspired, trip, but at least it won’t annoy the parents who are along for its fast-paced ride.

Though “Pink Wall” rarely breaks new ground in its focus on the evolution of a couple’s relationship, Cullen’s truly raw, intimate approach helps it feel fresher than it might have otherwise.

There’s nothing particularly sophisticated about the filmmaking in Free Trip to Egypt, but first-time feature director Ingrid Serban succeeds in telling a simple story in a simple fashion, and it’s an effectively moving effort.

12 O’Clock Boys is an exciting, beautifully shot look at a subculture through the eyes of one of its most devoted admirers.

With the deliberate pacing and spare approach, some audiences may find Vazante and its austerity a taxing experience, particularly in its first half. But just as Virgílio awakens Beatriz, we’re drawn into both their worlds for the remainder of the movie.

This is a subtle, slow burn of a film that refuses to bow to audience expectations in either its small moments or its overall arc.

There’s more sex than dialogue here; it’s a small win because the clunky dialogue and its flat delivery from amateur actors is nigh unwatchable, not that the sex scenes are much better.

May the Devil Take You is less funny and a bit less playful than its inspiration in Raimi’s work, but there’s still a sense of fun here. That is, if you find shrieking and laughing in terror fun.