
Aloha movie review: hello, and good-bye
A mess of a romantic dramedy full of colonialistic offensiveness, forced quirkiness, implausible emotion, and oblivious masculine self-centeredness.

A mess of a romantic dramedy full of colonialistic offensiveness, forced quirkiness, implausible emotion, and oblivious masculine self-centeredness.

The only female character with any presence is the mother of the young male protagonist… and she barely even does any mothering.

A shamefully miscalculated tale of whimsy and come-to-Jesus inspiration with a bizarrely inappropriate haze of Norman Rockwell-esque nostalgia.

I adore this show, but it’s hugely depressing. I would love to call it cynical, but I suspect it’s all too realistic. [This post is not behind the paywall.]

A soul-crushing experience: lazy, cheap, lurid, and stupid. Painfully unfunny and pointless. Sacha Baron Cohen now panders to those he once rightly mocked.

Full of the Coen Brothers’ usual exuberant joie de cinema, and a helluva lot of fun, but too scattershot to ever settle on saying the things it has to say.

A few instances of gorgeous and magical imagery cannot make up for the lack of genuine emotion or a fresh story. Strictly for devoted anime fans.

A slow-burn twist on the home-invasion story with a creepily classy atmosphere of dread and menace, but where it ends up is the stuff of hoary cliché.

A Nuremberg rally for 21st-century America. Pure terror porn: racist, jingoistic, thoroughly obnoxious. Donald Trump voters will love it. *sob*

When it comes to winning a big award, it looks like representing women well — or at least not quite so badly as many films do — is a good move. [This post is not behind the paywall.]