Samantha Bergeson

As a holiday rom-com, however, The Merry Gentlemen is sorely lacking the sparkle and comfort that is found in so many other recent holiday movies like it.

The Line is a must-see for a peek behind the coke-filled sheets of fraternities, well, everywhere.

King can’t really play a teen anymore, and the message of non-conformity feels stale, in the YA adaptation space and beyond. This trend, much like shifting beauty standards, is already on the way out.

The Fabulous Four might feel like a series of math problems that don’t quite add up, but it’s still an enjoyable time at the movies — especially if you choose to gobble down gummies at the same rate as the “geriatric” cast of Jocelyn Moorhouse’s raucous comedy.

With A Family Affair, Efron picks up where “17 Again” left off, and it’s a delight to see this former teen heartthrob back in a similar mode.

Watching Cho, perhaps on the same search as the filmmakers — for profundity, for catharsis — is always an entertaining experience, and a reminder of her curiosity as an actor more than the sum of her stand-up parts.

Leguizamo may give one of his career-best performances in the feature, but it’s Ferreira’s surprising command onscreen that is the most memorable.

The rom-com genre lives and dies on its tropes, because we love them and they’re comforting, but the lack of originality smarts here.

Mendes’ likability (and relatability) almost mirrors Amanda Bynes’ Hollywood reign during the “She’s the Man” and “Sydney White” days. Upgraded is essentially “What a Girl Wants” meets “Devil Wears Prada” with a dash of “Emily in Paris” camp. The combo makes it one of the easiest rom-coms to digest as of late.

There is no hero or villain, only a murky undercurrent questioning whether having a muse is inherently predatory or not. And that story is worth writing.

Role Play is stripped of all its potential action parts, and instead is downplayed in the most basic (AKA cheap) way possible.

The real crime of “Lift,” however, is not that its poised as an “Ocean’s” movie lacking all of the glamour. No, it’s that director F. Gary Gray has made some incredible films in the past and “Lift” simply isn’t one of them. This is the filmmaker behind Oscar-nominated “Straight Outta Compton.” This is the director who helmed the American remake of “The Italian Job.”

Character development, life lessons, holiday cheer? All a distant wish.

It is a fun time, just one that doesn’t need so many versions packed into it.

While the film fumbles through a stripped down script and stumbles towards a surrealist attempt at reframing the threats of tourism, Waikiki still offers a voice from a Native Hawaiian about his homeland.

There are sparks of chemistry between Ryan and Duchovny that feel reminiscent of better rom-coms, although none quite matching the films that Ryan is most known for.

As delightful as Levi and Rodriguez prove to be together, “Armageddon” thoroughly belongs to fresh faces Esterson and Carganilla, taking over for Daryl Sabara and Alexa PenaVega. The kids’ respective performances feel relatable, authentic, and above all, fun.

The whole Brit falls for an American trope has been done to death, and Love at First Sight doesn’t bring anything new to the genre. While Richardson turns in the best performance of the film, even that’s not enough to push Love at First Sight to higher rom-com heights.

My Big Fat Greek Wedding 3 goes for the cheap laughs and the tacky attempts at pulling heartstrings.

The ’80s-esque sensibilities and sweet quips, rivaled only by fellow Netflix film “To All the Boys I’ve Loved,” make “YASNITMBM” an easily watchable treat for the entire family. Cohen, who previously directed the Hulu feature “Crush,” and once again proves her bonafides when it comes to translating the pains and pleasures of coming of age to the screen.

The film also boasts unexpectedly great voice acting; it’s not an exaggeration to say that Oscar winner Foxx thrives as the voice of Bug.

The film’s script doesn’t have the emotional complexity to bolster emotion toward Sophie and Malcolm and their tangled predicament.

It’s right there in the title: Claire Simon’s stunningly personal documentary “Our Body” might generally be about her own health journey, but it’s really fixated on the communal experience of occupying a female body. Our body.

Simply put, Cox is the saving grace of his latest feature, Prisoner’s Daughter, a predictable family drama that has heart thanks to grounding performances by Cox, Ernie Hudson, and breakout child star Christopher Convery. The rest, however, leaves a lot to be desired.

Every Body” is a beautiful and cathartic celebration of intersexuality — and should be mandatory viewing for people of all genders.

Director Perrier (“Jezebel,” “Unprisoned”) has helmed a standout rom-com, bolstered by Union’s vision as a producer and lead star. The perfect find for those seeking a smart, sexy rom-com respite? Pretty close.

The “aw shucks” small town vibe of it all, complete with Hamm being seen as the most eligible bachelor around, eventually codes Maggie Moore(s) as more of a rom-com than a murder mystery. But weighed down with a cliched script and tired acting, the film doesn’t fully land either genre seamlessly.

Playwright and frequent Shannon collaborator Neveu adapted his own play for the screen, and Shannon’s sensitive direction makes Eric LaRue a haunting, standout film with a career-best performance from Greer.