Kimber Myers

The Weekend is as easygoing as its title implies, a loose, lovely complement to Meghie’s more polished studio film “Everything, Everything.”

Depraved is smart in its commentary on everything from the evils of the pharmaceuticals industry to the terrors of PTSD, but there’s real heart and empathy here too. Skeptics might question whether Adam has a soul or not, but Fessenden’s film clearly possesses one.

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

Black Christmas is a fun film that gets its kicks out of literally smashing the patriarchy.

The Map of Tiny Perfect Things mingles happiness and sadness as easily as it does genres, ultimately resulting in a film that is its own little joy.

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.

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.

Director Kijak deserves credit for constructing an engaging narrative that will have the uninitiated crossing their arms in an X in solidarity by the end.

What's most effective about the film isn't just the events at Porter-Gaud or their aftermath; it's Tolmach's emphasis on the disturbing truth of how often abuse like this is allowed to occur.

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.

Hearing Is Believing could have offered more insight into Rachel’s experience, but instead it invests in the action of its title, including long stretches of witnessing Rachel at the piano and on various other instruments.

As biopics go, Marie Curie is a beautifully rendered sketch, rather than a fully detailed painting.

It digs deeply into youth homelessness, as well as its roots in the foster care system, LGBTQ discrimination and sex trafficking.

Piranhas drags in moments, but it jumps from scene to scene as quickly as the boys weave through Naples on their scooters. The film races at speeds so fast that viewers won’t find themselves bored, even if they’re jarred a bit by the transitions.

This character-driven thriller gives specificity to small scenes, engaging the audience in each moment.

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.

Troop Zero is bursting with personality and stylistic flourishes; it might be too twee for some, but it’s better to let yourself be won over by its sincerity and sweetness, tempered by just enough sadness and quirk.

Like its characters, Duck Butter is imperfect, but unlike human objects of our affection, it’s attractive despite its flaws rather than because of them.

This is an imperfect, if entirely beautiful, film.

The Ticket exists better as a parable than as a true-to-life drama.

Everyone here means well and wants to make an epic war film, but it lacks a narrative strong enough to make it essential viewing for those beyond the genre’s fans.

Smith, Nighy, and Dench aren’t delivering audacious, reaching performances here, but there’s still plenty of charm and authenticity.

Unfortunately, the film itself is so determinedly middle-brow with little to dislike other than how eager it is to please and how wary it is of offending. Unlike Hortense’s flavorful cooking, Haute Cuisine is aggressively bland.

Despite all its flaws, it achieves its goal of making the audience laugh, even against their better judgment.

Vaughn’s film is overflowing with big set pieces, but all those epic action sequences amount to a running time clocking nearly two and a half hours – and not much else. Like fireworks, they’re awe-inspiring while you’re watching, but there’s little left to marvel at after the show’s over.

Destination Wedding is bitter, bubbly and ultimately refreshing, the Aperol Spritz to your sickly sweet Amaretto Sour.

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.

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.