Kimber Myers

Horror movie characters aren't generally known for their brains, but these ones make enough bad choices that audiences won't be able to help yelling at the screen (at least ours couldn't). It's a frustrating experience at times, but the script from Ben Ketai and "The Strangers" filmmaker Bryan Bertino eventually allows the family to take some satisfying actions in the second half of the film.

The Midwife is often unexpectedly funny and sweet. The film is more a celebration of life and its pleasures, big and small, rather than dwelling on death

Its chill, holistic view of the clinic and its canine patients will likely appeal to pet lovers and wellness devotees alike, although the allergic and the skeptics might find their minds wandering toward its end.

With its incoherent, episodic script, In Like Flynn lacks the worth of even a minor Flynn film.

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.

Catfight is the type of blackly comic film that works to alienate some viewers with its over-the-top approach and its unlikable characters. But those who enjoy its dark humor will cackle with mean-spirited delight.

The script finishes up exactly where you think it will, but along the way, there are enough surprises and perfectly delivered lines to make it a blast.

For all its safe choices and standard narrative, The Idol succeeds in communicating its message that the Palestinian people deserve a voice and representation. Its most powerful images somehow aren’t shots of Muhammad’s wonderful singing; instead, it’s the reactions of the Palestinians to those performances and cheering on one of their own.

Lee Daniels’ The Butler could be an important film that comes at a time where race is still a challenging topic for America, but it succeeds less as a film than as a history lesson.

Though it’s not without humor, All the Bright Places takes teens’ emotions seriously and will move romantics of any age — in possibly unexpected ways.

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.

Venus and Serena wins points for sharing an intimate, not-always-flattering view of the sisters that isn’t PR-friendly.

Returning director Michael Fimognari and screenwriter Katie Lovejoy have made a love letter to all of these characters — not just Lara Jean and Peter — and audiences will find it hard not to be smitten too.

Côté’s film patiently paints a picture of men who are more than their bodies, revealing the emotions beneath the skin and muscles and challenging perceptions about them.

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.

Ivory Tower is compelling viewing, particularly if you feel close to the crisis.

This trip is filled with goofy fun, though it wanders enough to occasionally test the attention spans of those neither young enough nor high enough to be in the film’s target audience.

Like its signature song (which has taken up permanent residence inside my brain), The Lego Movie 2 is fun and full of energy, but unlike the original, it’s not entirely memorable. Hopefully, its kind message will stick with kids and parents, even if none of the jokes do.

The script from Rideout and co-writer Josh Epstein may follow a standard high school comedy structure, but they bring something fresh to the genre with their enjoyably geeky approach.

Not every directorial choice or camera movement works, but this indie drama shines in the silences. The moments between lines of dialogue are the strongest as Cass and Frida sit side by side and look at each other, with expressions and reactions saved only for us.

Swallow is difficult viewing at times, but it’s psychologically rich and always feels genuine, even in its gorgeously stylized approach to the interior life of its complex protagonist.

Plus One might be a romcom squarely from the dude’s point of view, but Erskine is the real breakout star here. She’s raunchy and funny, giving the film a loose, wild feeling in its best moments, though it’s too often predictable in its larger beats.

Featuring one of Bill Paxton’s final performances, Mean Dreams is a painful reminder of the actor’s great talents.

There’s emotional complexity, making it work for more than just its key demo.

Adam is a small movie, but it still feels like a big step forward for trans representation in film, which has lagged behind gay and lesbian progress made on screen in the last few decades. It’s as imperfect as its hero, but there’s still something to root for here.

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.

Like the kimchi stew it prominently features, this is comfort food at its best. Given its origins, it should feel like something out of a lab, but this is a charming crowd-pleaser in the best sense.

Amma Asante’s Belle has every element that costume drama fans love, but it elevates a standard love story by adding larger historical implications and giving us a new perspective on the era.