Kimber Myers

Scaborough doesn’t try to shock audiences, but its attempt at a surprise is sadly predictable.

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

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

There’s little that’s memorable here and less to latch onto, beyond the foregrounding of an Asian woman in American history and Chau’s performance.

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 wears its influences on its tattooed sleeve, but this drug-fueled film is still an entertaining watch filled with bold style.

When Reinhardt’s fingers aren’t dancing across guitar strings, it has all the vitality of an educational film shown by a substitute teacher. It comes alive in those fleeting moments, but they are too infrequent to keep audiences engaged.

Little is a blast, but it’s a shame that it’s not a better movie.

Utterly dull thriller Drone tries to raise ethical and moral questions about modern warfare, but the audience can only dwell on the illogical plot and unsympathetic characters — if they can engage at all.

The script from director Scott Smith and co-writer Kevin Guilfoile thinks the rivalry between the two collectors is enough to sustain the narrative, but it doesn’t devote much of its energies to developing the relationship between Alan and Paul.

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

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.

For all its faults – both in its construction and the execution of its themes – I Feel Pretty still manages to be fun in the moment. It’s sweet and silly with a scene-stealing performance from Williams, but it ultimately could learn from its own lessons. It’s not confident enough in its central premise, leaving the audience wanting something more.

Crafted with exquisite care in the vein of its subject, though it occasionally feels overly precious (criticism that might be leveled at the restaurant itself by its detractors).

Tape might be based on a true story but it still feels disingenuous, both in its bleakest moments and in those meant to inspire solidarity. There’s clumsiness present in the filmmaking, with issues that deserve so much better.

Frequently fun and generally harmless, The Outcasts doesn’t bring anything new to the teen comedy, but that’s the nice thing about the sub-genre for its viewers.

This is an imperfect, if entirely beautiful, film.

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.

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.

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.

There’s something fresh in Detour, but it’s buried underneath a largely unremarkable movie.

Screenwriter Robert Siegel’s second directorial outing is better as an exercise in nostalgia than as a film, but it deserves some praise for its faithful recreation of a time and a place.

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

Summer ’03 bounces between plot lines and themes, shuffling through elements of better films with a lack of focus and little insight into Jamie. It never transcends its teen movie origins to become something more.

A dour drama that lacks depth despite all its good intentions.

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.

While not everything connects in the movie, Hooking Up is saved by the efforts of Snow and Richardson. They make a charming couple, even if the film itself has less allure.

There’s some truly nasty stuff here — both violence-wise and in its outlook on evil — but it still somehow manages to be fun amid all the carnage.