Kimber Myers

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

Shree’s film offers insight and intimacy, with survivors being incredibly honest and vulnerable, which will help to drive awareness of the problem and how to fix it.

Though it’s never really scary, it is appropriately silly and a fun time for genre fans who prefer giggles to gore.

Slipaway is a simple and sweet film, occasionally to a fault, but Partnow is a revelation. The material could feel manipulative, but she convinces viewers that every moment is real.

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.

The movie attempts to comment on reality-show culture, but it offers little insight beyond its ill-conceived premise. With suicide at its center, The Show is both tone-deaf and a tonal mess.

This slick and stylish exterior belies a rotting core underneath. Ryde thinks little of its characters or its audience; it's an exercise in misanthropy with a nasty streak of misogyny running through it.

The director gives the audience a story that takes off in as many directions as the prison corridors, leaving us lost and dazed. But unlike the characters, the viewers never feel a moment of fear.

9/11 trades on the emotional weight of its namesake day, manipulating audiences into feelings that have nothing to do with the mess that is actually on screen.

There’s no artifice in this documentary, with the director simply presenting the women’s lives as they tell them, one after another. Slow-moving and sad, Twenty Two isn’t easy to watch, but it isn’t meant to be.

The biggest problem for Gun Shy isn’t its ridiculous premise or its frequently silly tone; it’s that it doesn’t fully commit to either.

At 107 minutes, Tulip Fever has been trimmed of every ounce of fat. But connective tissue, muscle and even the heart are gone too, leaving a lifeless frame.

Second-tier airline safety videos are more entertaining than this fourth-rate comedy. Flight attendants on Southwest’s less-traveled routes are far funnier than the cast here. Watching a lonely suitcase circle a baggage claim conveyor belt is more diverting.

The Temple has competent visuals with a few particularly nice shots that establish mood. However, its script is poorly structured and opaque, offering little insight into what is terrorizing the tourists and why.

As writer, director, producer, star, editor and more, J. Van Auken brings a cool central concept and strong visuals, but the film ultimately never finds solidity.

Visually, Ghost House makes good use of its setting, offering Instagram-ready images of its location shot by Pierluigi Malavasi. Unfortunately, Thai people are used in ways that rely on cultural stereotypes, a blemish on an otherwise effective and unsettling film.

While there are some cool creature effects and committed, physical performances by the actors playing the monsters, the movie’s worst sin isn’t the found-footage rules it ignores. Instead it breaks the cardinal rule of the larger horror genre, running 95 minutes without a single scare or moment of dread.

Women Who Kill is delightfully specific in its approach to its characters and their community. It takes a familiar theme of romantic comedies — the fear of commitment — and gives it new life by adding a morbid element to the mix.

Liza, Liza, Skies Are Grey lacks a sense of what is essential to its story. It dwells on insignificant moments and inserts transition shots without logic, but skips over scenes or dialogue that could support Liza and Brett’s characters, their relationship and the choices they make.

This is a beautifully shot film whose visuals work well with its philosophical approach to life and relationships.

The movie has its flaws, but they’re tough to remember in the face of the fun it provides for two hours.

This raunchy, female-driven comedy should be able to rely on the strength of its cast, but even the collective talents of Katie Aselton, Toni Collette, Molly Shannon and Bridget Everett aren’t enough to make the movie worth a babysitter’s hourly rate.

Strouse demonstrates a contagious affection for his characters, and he invests in them in a way that makes us do the same.

It’s a slight film, but it’s populated by enjoyable moments and wry observations that will appeal to fans of talky indies.

The Midwife is often unexpectedly funny and sweet. The film is more a celebration of life and its pleasures, big and small, rather than dwelling on death

Somehow worse than its ridiculous title, Awaken the Shadowman is sillier than it is scary.

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

Blind stumbles with unlikable characters and a lack of depth, leaving audiences simply wishing for its ending, happy or not.