Kimber Myers

Less would have been more here; a less scattershot approach would have yielded a more resonant film.

The Intruder is a blunt but effective instrument. This thriller lacks subtlety and craft, but it succeeds at what it’s intending to do: keep the audience stress-eating popcorn for 100 minutes and leave entirely satisfied with the experience they just had. It’s not a good movie, but boy, is it fun.

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

Come To Daddy is definitely not going to be everyone’s cup of tea. ... Provocative and ballsy ... [the film] doesn’t give a shit if you like it and perhaps even dares some audiences to sit through it unfettered. Ultimately, it knows that those who stay are on its weirdo wavelength and are in for something insanely entertaining.

Rattlesnakes imagines itself as a neo-noir, but that genre is more evident in its themes of revenge and ambiguous characters rather than in its nondescript style. This is a bland, unpleasant watch, all set to an equally grinding score.

Individual scenes work, but it lacks cohesion as a whole.

There should be more films like Fast Color. Movies that demonstrate that you don’t need a giant budget or decades of established IP to do superhero or sci-fi well on the big screen.

The problems may lie in Todd’s novel, but regardless, characters act illogically, as though written by someone who napped through most of Intro to Psych and skipped English 101 altogether. Character motivations go either unwritten or left on the cutting room floor.

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.

Wild Nights with Emily feels at once revelatory and a total delight, a surprise for both for literature geeks and those who didn’t do their required reading in school.

Little is a blast, but it’s a shame that it’s not a better movie.

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.

With its solid production values, Unplanned has all the appearances of being a real film, but viewers in favor of abortion rights will find it to be pure propaganda. Writer-directors Chuck Konzelman and Cary Solomon spend more time making their talking points than developing their characters, who exist merely to make their arguments.

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.

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.

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.

Beyond Dumbo’s cuteness (which was so overwhelming that I now want a baby elephant for a pet, which is surely not the point of the film) and Keaton’s perfectly over-the-top performance, there’s little to latch on to in this Disney film. It throws so much at the audience that nothing really sticks, leaving such a small impression for such a big movie.

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

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.

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.

As played by It standout Lillis, Nancy is smart, independent and loyal, and it’s easy to see how she’ll charm a new generation of viewers — and hopefully readers.

It’s a humane, compassionate film, simultaneously full of beauty, sadness and struggle.

“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.

A dour drama that lacks depth despite all its good intentions.

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.

As bland as its title, Something is a horror film with few scares and a mystery without answers.

Garrison’s McNeely damns the overlong film; he’s neither a good man nor a good character, someone that we can’t care about or care to watch.

This feels like two movies for the price of one, but the audience isn’t getting a deal.