Kimber Myers

The Lears is a witlessly profane attempt at dark comedy that is beneath the talents of everyone on screen.

There are moments of joy and humor throughout, and the film insists on feeling those emotions, just as much as it does grief.

Though the family-friendly comedy has all the good intentions of a motivational puppy poster, it unfortunately also has the same level of intelligence and plot.

The Breaker Upperers features a distinctly New Zealand style of comedy: dry, awkward and utterly hilarious. But directors, writers and stars Jackie van Beek and Madeline Sami still give this film a wild energy that’s absolutely their own, with jokes that take the audience from giggles to cackles to all-out shrieks.

It pokes fun at falling in love on screen, but it’s smart and sweet enough make us fall for it as well.

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.

Darkness Visible is disjointed and drags out for far too long, but it features some effectively creepy visuals.

It’s as unfocused as its heroine, roving between subplots, but there’s still plenty to admire in this frank, funny film.

One Million American Dreams lacks a cohesive structure, but it is bound together by the tears and grief of the people left behind.

Berlin gives a good enough picture of its host city, delving into its complicated history and giving glimpses of its beauty. But few of the segments connect us to its inhabitants and visitors in any meaningful way.

Flaws and all, Cold Pursuit is a gleefully violent good time. Moland’s movie is silly but sharp, with barbs drawing blood despite a story that we’ve seen before.

Nable’s script isn’t always clear on its characters’ motivations, and it drags on even at a brief 92 minutes. However, Outlaws should largely satisfy audiences who like their action movies savage and bleak.

Directed by Robert Schwartzman (“Dreamland”), The Unicorn is more silly than sexy, but it also has moments of seriousness with an emphasis on the value of honesty and trust in relationships.

Miss Bala fails both when judged on its own merits and when compared to its predecessor. Just like Gloria in the film itself, Rodriguez is the only hero here. She works hard to elevate the material, but both she and her character deserve so much better than this.

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.

High Flying Bird is often serious in how it deals with issues more substantial than just sports, but even beyond McCraney’s sharp, witty script, there’s a sense of joy here. The fun Soderbergh had making the film radiates off it, with this masterful movie that reminds the audience why we’re lucky one of the greatest living directors is still in the business.

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.

Where King of Thieves fails its heralded cast is in its shifts in tone. We’ve been promised a fun ride with Caine in the driver’s seat, but the trip goes downhill too quickly.

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

Directors Tomer Almagor and Nadav Harel simply let the cameras roll, giving Neilson enough rope to hang himself with his actions and words.

The oily slick of sin across the surface of this film isn’t what makes it wickedly fun; it’s the utter devotion to its bonkers twist, at once defying logic and good taste. Serenity knows it’s trash, but that’s not to say that it’s not entertaining trash.

Both awe-inspiring and mouth-watering, The Heat: A Kitchen (R)evolution celebrates seven female chefs forging ahead in a male-dominated industry.

In its first act, Close is a competent thriller, buoyed by early action sequences from director Vicky Jewson and some really solid scene transitions that point toward a strong style. However, as the film goes on, it switches from the precision of a sniper rifle to the scattershot effect of a drunk-wielded machine gun.

John David Ware’s directorial debut is sloppy in its editing and camera angles, though the script from Bonné Bartron gave him little to work with. Unbridled stumbles further with clumsy product placement, making the film seem less sincere in its efforts despite its good intentions.

It may poke fun at Karen and Tina, but it never says that their choices around motherhood aren’t valid and deserving of happiness. Its ultimate sympathy for these women may be at odds with earlier jabs at them, but it creates an empathetic space that is surprisingly emotionally satisfying.

Little Woods isn’t always subtle, but the occasional lack of nuance doesn’t lessen the power of its timely themes or impressive performances.

Though anchored by strong performances that ultimately make it watchable, the surrounding film stumbles along thanks to a bumbling script that’s devoid of any originality.

As sweet, corny, and comforting as your grandma’s creamed corn, Dumplin’ may not be a balanced meal of a movie, but it’s an enjoyably carb-y binge.