Peyton Robinson

While built on an excellent screenplay and grounded center, “Nightborn” falls victim to fatiguing its elements through overzealous, flustered execution.

It loses its handle on its pacing and shows its hand far too often, but despite these formal missteps, it delivers a cross-cultural tale that is both timely and timeless.

Maddie’s Secret possesses a tenacious commitment to clichés and stylistic hyperbole, and while it is certainly a parody, it is undeniably delivered with reverence: an ode to the idolatry bestowed upon characters like Rory Gilmore.

Nawal’s womanhood, colored by the intersection of traditionalist society and internet enlightenment in which she exists, is the real meat of “Unidentified,” a film that shoots for the juicy bite and gets the gristle instead.

There’s respect to be had for films that take big swings, potentially even risking offense to deliver their thesis with gusto, but “Find Your Friends” is a sloppy, party porn massacre of themes.

While Ripstein’s satirical approach lends an appealing bassline, his format fails to capture the victory’s emotional resonance.

The circumstances of “Couples Weekend” are simply too convenient. Its simplicity hinders absorption, shielding viewers from taking in its vulnerability or lessons to heart. And with its similar struggle to elicit its intended laughs, Kirkpatrick’s film is a flat rendering of its jagged proposal.

Late Shift never loses grasp of its compassion for its lead, but does neglect coloring in the context. Left wanting more, Volpe’s film touches the heart but doesn’t satisfy the appetite for a more comprehensive picture.

Regrettably botched, despite its bold concept at its core, “Slanted” is too simple to make a statement.

Sykes steps into the role enthusiastically, but Miller’s script (with cowriter Anita M. Cal) is beat-you-over-the-head melodramatic, making Sykes’ committed effort to deliver heartfelt pathos all the more difficult to buy.