Kimber Myers

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.

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.

Mixing equal parts of “The Hangover,” “Very Bad Things,” and “Bridesmaids,” Rough Night is a comedy cocktail that goes down easy. It adheres a bit too closely to the recipe established by its predecessors, but it works well enough to keep the audience laughing.

“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.

Bad Moms could easily skate along only on its very funny, often very raunchy jokes, but it also makes a much-needed argument for the difficulties of modern motherhood and how the pressure to be perfect is damaging both mothers and their kids.

This is a fast, fun watch that succeeds largely on the charms of its star and the able hands of its director.

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.

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.

Not every note rings true, but this breezy pop song of a movie is mostly fun while it lasts.

This documentary is a lyrical exploration of both a person and the place she died in, as well as a devastating commentary on American society’s approach to mental health.

It may lack focus in its approach to its subject, but Davis’ compelling character and powerful message keep the audience engaged.

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.

A little too broad at times, Swan Song smartly balances its excesses with small, sweet moments that leave an impression on the audience just as significant as Pat’s imprint on Sandusky.

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.

Devotees will appreciate a different look at their fallen idol, while those who aren’t familiar with his music might find the film a bit long at nearly two hours but will see what the appeal was to those who loved him.

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.

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

Bethany Hamilton: Unstoppable doesn’t offer the technical details about the sport that might have made its subject’s feats even more inspiring, but even someone who knows nothing about surfing can’t help but sit mouth agape at Hamilton’s athleticism, optimism and determination.

Other than showing moments of in-fighting, Meow Wolf: Origin Story is an almost entirely positive exploration of the collective and their art — but it’s an effective one.

Love & Bananas works on two levels, spreading awareness about the plight of Asian elephants and the damage that tourist activities like elephant treks wreak, as well as documenting Noi Na's 500-mile journey and dramatic rescue.

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.

Like most sequels, Happy Death Day 2U can’t quite replicate the feelings of joy and discovery of the original, but Landon deserves credit for varying the tune, while still playing the hits that will please the fans of its predecessor.

t times, Mully is difficult to watch as it explores the depth of poverty and abuse for some Kenyans. However, Mully’s story is ultimately heartwarming, with the postscript about his family and his efforts offering a balm to the pain.

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.

Killing Ground is an effective indie creeper that unnerves the audience with its all-too-realistic violence.

Slipaway is a simple and sweet film, occasionally to a fault, but Partnow is a revelation. The material could feel manipulative, but she convinces viewers that every moment is real.

Frequently fun and generally harmless, The Outcasts doesn’t bring anything new to the teen comedy, but that’s the nice thing about the sub-genre for its viewers.

This isn’t an idealized version of romance or L.A. millennials; Kotlyarenko and Nekrasova shine a glaring iPhone flashlight on their characters’ — and their generation’s — flaws.