Kimber Myers

Boasting a higher body count than its IQ, Resident Evil: The Final Chapter is violent, idiotic fun.

Like its juvenile characters, Yes Day sometimes goes too far, with over-the-top scenes that lessen the impact of the genuine emotions elsewhere. But will kids whine about it (other than for their own Yes Day)? Probably not, and parents likely won’t mind either.

Beyond its style, Dementia 13 doesn’t innovate, but it’s a capably made indie that should please genre fans searching for a haunted diversion.

Salt in My Soul is emotionally affecting, but its ordinary approach hamstrings the story of a woman who seemed truly extraordinary.

Though Fight for Space doesn’t innovate artistically, first-time director Paul J. Hildebrandt’s documentary makes strong arguments for scientific innovation.

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.

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.

Director Charles Stone III and screenwriter Chuck Hayward have made an overlong film at 108 minutes that may try the audience’s patience at times, but their movie hits its beats enough to make fans of the genre tap their feet along with the action on screen.

Like its predecessor, Super Size Me 2 is largely entertaining, with audience enjoyment varying on their appetite for Spurlock’s fun, smug shtick.

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.

While Disco’d is an unvarnished, moving look at the lives affected by the rising crisis of homelessness, it could have used a bit more polish and structure in telling these stories.

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

The end result is sprawling and often unfocused, with a reach that exceeds its grasp.

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

Audiences who care more about how a film makes them feel than if it fully works will be rewarded. But those who need more will find that Discreet lives up to its name a bit too well, never fully offering answers to all the questions it asks.

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

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.

The movie draws you in with its tender exploration of relationships and authentic performances, but pushes you away with pointless slo-mo sequences.

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.

This isn’t the anodyne, awards-baiting film about disability that viewers might be used to; instead, Hikari’s feature debut is sensitive and empathetic, showing a young woman who is more than just her cerebral palsy. Yuma is a wildly creative, sexual person who deserves more than her society often gives her.

Directors Mark Blane and Ben Mankoff bring a kinky sweetness to this oddball dramedy, but audience’s appetites for it will depend on their patience with its lead character.

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.

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

Despite its flaws, Ask for Jane is moving, especially in a time where reproductive rights are at risk in states across the United States. However, abortion rights advocates will wish the message came in a better-made movie.

Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.

The Oslo Diaries is at its most gripping – and its most devastating – in its coverage of how close to peace the two sides came but have still yet to reach.

By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.