If you like unabashedly corny teen romances, there’s a fair chance that the sheer too-much-ness of The Quintessential Quintuplets Movie will appeal to you.

It is an often nasty film, with little regard for anyone on screen, far more content to grasp for false depth rather than logic. It’s a shame there’s nothing to root for other than its dwindling runtime.

Formally speaking, Dionne Warwick: Don’t Make Me Over isn’t nearly as much of a groundbreaker as its subject, but that subject has lived such a rich life — and recorded so many unforgettable songs — that the film is, ultimately, as pleasurable as hearing a vintage Warwick hit on the radio.

Cold Copy is a tense journalism drama that ultimately can’t be saved by a group of strong leads who are running lengths with the material they’ve been given. Helberg’s directorial eye proves to be something to watch, but the story she tells falls flat in the wake of uninspired character motivations that ultimately don’t make much sense in light of the stakes at hand.

Richland is a unique and heart-wrenching portrait of a town willingly taken advantage of and is a necessary documentary in an age of nuclear unease.

Happy Clothes gives us an intriguing snapshot of a creative force who can mix patterns and colors more fearlessly than anyone in the business. But it ultimately leaves us craving move.

Co-directors Bryan Darling and Jesse Finley Reed and writer Peter Jones manage to cover a lot of territory in a compact 83-minute running time, while striking the same balance between sexy and peculiar that makes the catalog such a hard-to-parse artifact of its era.

While “Aliens Abducted My Parents” can be a little rote, its greatest function isn’t as a delivery system for drama, or humor, or even coming-of-age clichés. This is one of those movies about young people where, regardless of whether you like it or find it a little bland, you’re grateful that it introduced you to these cast members.

In its happiest moments, The Movie Teller is glorious and yes, a little corny; in its darkest ones, it’s still lovely and sad.

The film doesn’t just highlight Sue’s impressive skills on the court and her determination to hone said skills to perfection. It is a response to a growing trend of talking heads who have made it their mission to underplay professional women athletes and the contributions they’ve made.

An impressive and nearly-comprehensive overview that will probably have something to teach almost everyone in the audience, regardless of how familiar they already are with the topic.

Reminds those of us in similar situations that these painful paths are well traveled, and that the outward success we think might fill the holes in our souls usually turns out to be an excuse to push ourselves even harder. That’s why we cry sometimes when we’re lying in beds, just to get it all out, what’s in our heads.

A cheeseburger on Amazon Prime’s value menu, but they left out the cheese. And the meat.

Christina Milian and Devale Ellis are adorable. That’s the whole movie in a nutshell. Nothing else has to work in order to get what we need out of it. Pentatonix can’t even play themselves convincingly, at all, and it still doesn’t hurt this thing.

It’s a movie about the forces that consume anything and everything to make them into something that is a part of a collective. The more it expands on this, the better it gets, sweeping you up in stunning visuals that swallow you whole.

Delpy’s balancing act is an admirable and often effective one.

It’s that rare action movie that succeeds because it’s challenging and intriguing, which is a nice way of saying that maybe it could have kicked slightly more ass.

It’s a film with potent ideas, inner conflict, historical imagination, dramatic challenge, queer power, human fragility, humor, sex, pathos. It’s hard to pin down exactly what makes it great, and that’s what makes it great. There’s so much to its muchness that the veneer can hardly contain it, not unlike Taffeta themself.

Better Go Mad in the Wild is transcendent not because of big speeches or underlined ideas, but because of how it lets us sit back and watch two people, both flawed, funny and deeply human, struggle through another day.

The film may be unbridled, unfettered and bold, but sometimes those adjectives aren’t complimentary.

The writing is frequently darkly playful, the direction measured and the performances all completely committed, ensuring the portrait of a family in crisis holds together just as they may all split apart.

Colin Minihan knows how to make a gnarly horror film.

It’s a playground for the filmmakers and audience alike, a fantastical space where anything can happen, whether it’s silly or badass or both.

Some movies are movies. Other movies are cocoa. A Merry Little Ex-Mas is the latter.

Not Without Hope never completely comes together but when it works, it’s absorbing disaster filmmaking."

It scrolls past thoughtful ideas, too quickly to fully process them, and the experience is as cacophonous as the typical social media feed. I’ll grant you it’s thematically appropriate but it’s not cohesive filmmaking.

A frequently stunning work of animation that’s also a haunting portrait of isolation, the destructive insidiousness of bullying and our own capacity for cruelty, Kohei Kadowaki’s formidable feature debut “We Are Aliens” is a film of fascinating layers.