Lena Wilson

With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.

These characters are undoubtedly supposed to be parodies of themselves, but their collective unrepentant narcissism broods more resentment than laughter. By the end of the feature, it’s hard not to cringe every time somebody talks.

If the performances were as wooden as the plot, “Imaginary Order” would be unwatchable ... Instead, McLendon-Covey’s lead turn and some savvy supporting performances (most notably Kate Alberts as her daughter) keep things compelling for the film’s overstretched 100-minute run time.

Song of Back and Neck is worth a watch—even if you’ll scratch your head more often than you’ll laugh.

When all’s said and done, Wobble Palace is trying so hard you can’t help but like it.

As surely as a hiker extending her arms in the middle of an undulating lava field, Iceland has arrived, with a startling movie that’s every bit as idiosyncratic, homely, and dynamic as its country of origin.

Unfortunately, while Set It Up sets up instances of subversion, it ultimately topples into a predictable mess of romantic noxiousness.

With capable performances and a smart, character-focused script, this film balances its formal conventions with narrative nerve, ultimately making for a satisfying – if not show-stopping – watch.

You might start this film expecting a riotous night with some of the most underrated women in comedy, but you’ll soon find yourself invested in a mesmerizing story of partnership and personal growth.

Maybe if the film had dwelled on its more off-color scenes instead of falling back on typical comedy fodder, it would be truly magnetic. Unfortunately, it’s more like a sloppy friend who, despite starting the night off full of joie de vivre, you now have to help stumble home.

It’s beautiful, if not brilliant, and (aside from a final act that drags on way too long) fun to watch. In the alternate universe where I don’t care about misogyny and I decided to watch this movie on mute, it’s probably one of the best things I’ve seen all year.

While Our House occasionally loses sight of itself and could stand to take more risks, it offers a wholly original perspective on female friendship bolstered by precocious directorial acumen and a self-assured visuals.

This is one of the most thoughtful films about the female experience to debut in recent years, and should be mandatory viewing for anyone eager to engage with confidently-made, skillful art cinema.

Though the film attempts to introduce a future laden with fascinating social implications, it maddeningly ignores them in favor of an overwrought, plodding, and inherently sexist romance.

The cinematic equivalent of a bath bomb, this fizzy feature is sure to delight — at least until the charm fades. So unfurl your towel, dust off your bathing suit, and soak up that warmth.

First Match is a culturally significant, capably-crafted film, but it leans on safe familiarities when it should seek risky rewards.

It’s a well-made, gutsy film. So, if you can withstand the whole soul-crushing feature, you’ll probably be glad you stuck it out. If “glad” is an emotion you can still feel afterward.

Neither romantic nor comedic, When We First Met is almost too vapid to be aggravating. After watching it, you might be tempted to hunt down a time-traveling photo booth of your own so that you can undo your mistake. Luckily, this movie is so shallow you probably won’t even remember it after you wake up tomorrow

As a film, Saturday Church could so much more, and its disheartening shyness keeps it from achieving greatness. A few choir boys short of a hallelujah, Saturday Church feels more like a subdued sermon.

Simmons is naturally charming, but that only goes so far in a film strung together by half-baked characters and a gimmick.

The Tribes of Palos Verdes privileges melodrama over nuance, pitting skilled actors against a humdrum script and sketchy roles. It doesn’t offer anything new, and bungles any mildly interesting plot points.