Kimber Myers

Those looking for inspiration will find it without looking too hard, but those who don’t attend church regularly will be as bored as they would be by a sermon.

Unfortunately, this Australian horse racing film remains a standard underdog narrative that fails to rouse the audience from their seats, despite the best efforts from its cast and a few charming moments.

Swallow is difficult viewing at times, but it’s psychologically rich and always feels genuine, even in its gorgeously stylized approach to the interior life of its complex protagonist.

Not every note rings true, but this breezy pop song of a movie is mostly fun while it lasts.

Though it’s not without humor, All the Bright Places takes teens’ emotions seriously and will move romantics of any age — in possibly unexpected ways.

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

De Clercq’s clear directorial talent gives the film the illusion of respectability, but it can’t remove the sweaty sheen of smarm.

The movie can only be classified as something truly terrible, escaping any other categorization that would make it resemble an actual film.

This is a fast, fun watch that succeeds largely on the charms of its star and the able hands of its director.

The film’s heart appears to be in the right place, but its missteps and melodrama make this a fromage unworthy of savoring.

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.

Gretel & Hansel is Perkins’ biggest film to date, and it cements a filmmaker in full possession of a visual prowess that few others with far longer filmographies can claim. But while he offers a stunning feast for the eyes, the substance is likely to leave viewers still hungry.

Like a Boss is screamingly funny at times, thanks largely to the talented cast.

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.

In Elsewhere, Jiménez has made a humanist film that deals sensitively with the processes of grief and moving on.

This ambitiously titled documentary never really makes the reasons for its existence clear.

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.

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.

Low-key indie First Love has some interesting but fleeting moments in its story of twins in crisis, but it feels like a first draft whose script could have used more fleshing out, particularly in the characterization of its leads.

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

Travis Hodgkins’ script strives to inspire, but it’s trite even for a drama about the magic of Christmas. Unfortunately, A New Christmas receives little help from either the amateur acting or first-time director Daniel Tenenbaum’s hand.

Although there are some tonal and plot issues, Gourmel’s directorial debut finely captures the dangerous energy of being a teen, especially one who struggles to deal with her life. Cavale is an imperfect film, but it’s evidence that Gourmel will be a filmmaker to watch.

Remaining child-free is still a relatively taboo issue, and To Kid or Not to Kid deserves praise for exploring it so openly. The film wanders a bit in that exploration, lacking a structure that might make it more effective in having the conversation, but there’s value in broaching the topic.

Devotees will appreciate a different look at their fallen idol, while those who aren’t familiar with his music might find the film a bit long at nearly two hours but will see what the appeal was to those who loved him.

There’s no big action set piece à la “Mission: Impossible” here and no single line of memorable dialogue to reference. But someone will have created a supercut of Kristen Stewart’s best moments on whatever app replaces YouTube, and that will remain more indelible than the movie as an actual movie, especially for the girls who see themselves or women they want to see on screen.

This is a film that’s better off unseen despite its lovely visuals.

For all its flaws, Last Christmas isn’t a bad time, despite being a bad movie. Credit Clarke and Golding — or that rum-heavy egg nog you should drink before the opening credits.

This is all fascinating in isolation, but transitions between stories and the experts’ insights never feel cohesive. The Portal also lacks the depth to fully engage — and convince — the viewer.