Kimber Myers

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.

Dhont’s film is a strong debut from a technical angle, but it lacks the humanity necessary for a story of this nature.

Though its script lacks moments that bring cohesion to its characters and timeline, Elenie remains a woman whom audiences can empathize with.

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.

There’s clear affection for the ocean and its inhabitants in “Bernie the Dolphin,” but the movie’s script from Terri Emerson and Marty Poole is on the level of educational placards at a second-rate aquarium. It’s informative, but there’s little entertainment in director Kirk Harris’ film.

Elephants almost works, but it self-destructs with as much frequency as its damaged characters.

Its incoherent script is packed with more “Star Wars” references than Kevin Smith’s entire oeuvre, but none of the laughs.

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.

Roll with Me avoids the tropes that narratives about people with disabilities often offer, instead giving a fully developed picture of a man who wants his family to be proud of him and his accomplishments.

Causey deserves real credit for reckoning not only with America’s legacy of slavery and prejudice, but also examining her own ancestors’ specific roles in the racist treatment of African Americans.

Rawal’s well-shot film is engaging — particularly for those with an interest in running and/or meditation — but the lack of balance between each of the four stories ultimately throws the film off.

Underneath the layers of formaldehyde-treated flesh, there’s real heart and deserved wonder at the human body.

Despite its ruff collars and Elizabethan English, Mary Queen of Scots is no staid, stuffy period drama, as restrained as the breathing of corseted women. Instead, this a vital film, whose lace-trimmed bosom heaves with life.

It’s entertaining but slight, particularly as it bulks up with the post-credits inclusion of the video.

Trainin tries too hard at times to make a moving scene even more moving, undercutting the narrative, and should put more trust in the strength of the story he is telling.

Madness, Farewell is best when introducing viewers to Liza’s simultaneously dark and sunny world, but later it turns into more of a standard quirky indie than its premise suggested.

Individual moments work, but there’s little to tie them together in a cohesive narrative.

Though her script overloads its characters with confusion to the point of farce, there’s still a warm, authentic core that drives this well-meaning effort.

If you took “Raiders of the Lost Ark,” mashed it up with some gonzo grindhouse pics, doused it in shaken-up cans of original Four Loko and then lit it on fire, laughing while it burned, you might begin to approach the craziness that is Overlord.

Even with all of Haddish's hard work, she still can't clean up the mess she's landed in.

Beyond its plea for research, the documentary is largely hopeful, but for balance could include more anecdotes and details of when the treatment doesn’t have the desired results.

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.

Director Yoonessi and deGuzman perfectly balance the contrast between Joy’s cuteness and innocence and the darkness and sexuality of her experience.

The documentary lacks the polish of films made by a more experienced team; however, its endearing cast of students and teachers largely make up for its flaws.

Despite chemistry between its attractive leads, 5 Weddings is a hot mess that deserves to be left at the altar. Inorganic and implausible, this Bollywood-inflected rom-com features little comedy and even less romance.

The minimalist approach and premise of Solis should work, but the execution in the script keeps the viewer disengaged, wishing the pod would move more quickly toward its final destination.

Despite its intentions to get close to Mercury, Bohemian Rhapsody is as intimate as a sold-out stadium show, with none of the accompanying power.

It’s better than a number of indie films in its craft — particularly the thoughtfully composed cinematography from Kieran Murphy — but a flawed script ultimately keeps it from eking out a win.