Kimber Myers

The initial draw of Sea Fever might be as a monster movie, but this is a profoundly humane and humanist film whose ideas stays with you longer than the nightmares.

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

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 not a good movie – but that doesn’t mean that it’s not a good time.

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

What might have worked in theater doesn’t translate here, particularly the repetition of words and phrases that feel true to the original medium but grate here on screen.

Urban Hymn is so carefully and lovingly made by director Michael Caton-Jones and his leads that it’s hard to begrudge the British drama its familiar premise, especially as you squint at the screen through tears.

On the Basis of Sex is a well-enough-made movie, fully constructed in the mold of hundreds of biopics that came before; it’s emotionally satisfying but has few surprises.

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

Unfortunately, the movie’s over-dependence on voice-over and its overwritten script interfere with the audience being able to fully engage.

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.

Though it takes far too long to kick into gear, Bottom of the 9th does improve as it goes along, becoming less self-serious in its second half. But the upswing can’t vindicate the rest of the film; it may be about redemption, but it’s too little, too late for the movie itself.

Creative Control has a lot to say, and style to spare, but stronger performances and better-drawn characters could have made its message even more effective and enjoyable.

Many viewers will find it challenging to see the substance hidden in the documentary’s over-the-top style that makes Michael Moore’s directorial stamp look subtle.

There’s never too much at stake for the princesses or the audience, but it makes for a fine diversion from the realities of life and history.

Warmth and intelligence — and a strong sense of both fun and feminism — make Malik’s film worth a watch, and rising star Ali is worth keeping an eye on as well.

Funny Story is only mildly humorous, but it’s watchable thanks to Glave’s game performance that makes him likable despite his foibles.

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.

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.

Though it delves into a number of topics beyond fashion, it refrains from going underneath the glossy surface. It will appeal to fans of Wintour’s brand and style devotees, but it likely won’t make too many converts outside her kingdom.

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.

[A] bland, sometimes dull film ... Those unfamiliar with the history of the Manson Family murders won’t gain any real understanding of the crimes or the character of those who committed them, while those who know the details won’t get any new insights into it either.

You absolutely want to hang out with these charming, amusing women off-screen, but the time spent with their on-screen counterparts isn’t nearly as fun as you’d hope.

Adrift avoids the perils of most survival stories, thanks not only to its strong cast and well-structured script but to Kormákur who manages to succeed at capturing the tone of both the intimate moments and the ones where a building-sized wave looms over Tami and Richard.

Based on Lois Duncan’s gothic young adult novel, Down a Dark Hall is entry-level horror for teens. The scares might not satisfy those old enough to vote, but it should provide mild chills for its target audience.

The Fate of the Furious is almost impossible not to like. It achieves exactly what it sets out to do, successfully lighting up the brain’s pleasure centers at each opportunity with a variety of tools in its arsenal.

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.