Kimber Myers

Though there are some cool moments, the film lacks the connective tissue to make an audience invest in Xia Tian’s efforts.

The film alternates between triumph and tragedy, but there’s never a moment that doesn’t feel intimate and authentic in its 96-minute running time.

The film is a moving experience for both its subjects and the audience.

Hearing Is Believing could have offered more insight into Rachel’s experience, but instead it invests in the action of its title, including long stretches of witnessing Rachel at the piano and on various other instruments.

Though 47 Meters Down perfunctorily succeeds in its aims to terrify the audience, it’s not as much fun as it could be due to it’s beyond brainless script, its casual sexism and its idiot characters.

Mixing equal parts of “The Hangover,” “Very Bad Things,” and “Bridesmaids,” Rough Night is a comedy cocktail that goes down easy. It adheres a bit too closely to the recipe established by its predecessors, but it works well enough to keep the audience laughing.

Unfortunately, the worst fault in this horror movie isn’t the amateur performances, beginner-level editing or the special effects; it’s the dreadfully dumb script.

This mess never knows whether it’s a mob movie or a raunchy comedy.

There’s an absence of character details that could make the central romance of Vincent N Roxxy more believable. Luckily for the film, the palpable chemistry between Hirsch and Kravitz imbues the relationship with realism, even if we don’t have much else to go on.

The lifeless script and bland performances damn the film and the unlucky viewers who find it.

It creeps along without providing either scares or an unsettling mood.

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.

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

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.

[Pappas] and co-director and co-writer Jeremy Teicher have created a funny, sweet movie that explores the struggles of a serious athlete without alienating those whose sneakers are gathering dust in the closet.

Lady Bloodfight would be knocked out immediately if matched against classics in the genre.

The characters in The Lovers and the problems they face and struggle with feel entirely authentic, as does the magnetic chemistry between the leads.

Its humor is broad, but most of the jokes work for the intended audience — with a few even breaking through to more resistant viewers.

The Circle is a movie that has all the appearances of working – a solid director, great cast and impressive pedigree – but constantly throws errors. It’s a frustrating viewing experience with little surprise or delight to be found.

The flaws of Nola Circus aren’t limited to its outrageous and offensive approach. It’s that it never succeeds in bringing viewers onto its wavelength, which is probably a good thing for humanity’s sake.

“Spark” should earn points for originality, but it never invests in establishing its world or its characters in a way that engages viewers.

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.

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.

The Ticket exists better as a parable than as a true-to-life drama.

Blue Gold: American Jeans is intermittently engaging, but its attempt to weave together the journey of vintage clothing dealer Eric Schrader with the history of the apparel ultimately falls apart.

This documentary is a lyrical exploration of both a person and the place she died in, as well as a devastating commentary on American society’s approach to mental health.

Despite the Falling Snow is ostensibly a love story set against a Cold War thriller backdrop, but it features no heat and little tension.

Aggressive and aggressively unfunny, Hollywood-set comedy Walk of Fame hates its characters and its audience — and the feeling is mutual.