
Lucky Grandma movie review: brittle old lady
Wild sass, gentle comedy, shivs of poignancy, and instantly vivid characters add up to a wonderful riff on mob movies as a Chinatown granny faces off against gangsters. Tsai Chin is an absolute hoot.

Wild sass, gentle comedy, shivs of poignancy, and instantly vivid characters add up to a wonderful riff on mob movies as a Chinatown granny faces off against gangsters. Tsai Chin is an absolute hoot.

The hypocrisy of the world’s expectations of girls gets a gently sardonic knock via an audaciously confident young woman battling to be herself. This is a lovely, goofy movie, easygoing and chaotic.

A laugh-until-you-cry dramedy burlesque, brilliantly structured and horrifically compelling, about the endless grift that passes for an economy in America. Hugh Jackman is at the peak of his powers.

As pastel and glittery as its predecessor, with a silliness more glorious and less forced. Sweet, smart, sincere… but it doesn’t deserve to be carrying the future of movies on its little shoulders.

Taboo-busting laugh-until-you-cry tale dares to speak of oft-unspoken matters of women’s lives. So very necessary to open up the range of women’s experiences seen as baseline. I love this movie.

So aggressively precisely what you think it is that there’s almost no point in seeing it. Flattens a true story into generic pap that isn’t even that successfully, authentically feel-good, either.

Don’t let the Pixar curve throw you: familiar this quest may be, but it’s full of magic and wonder and humor and melancholy, and set in a fully realized fantasy world. Not a masterpiece but very good.

An old-fashioned kiddie adventure, sweetly earnest, equal parts scary, funny, exciting, sad, and happy, with only a bit of uncanny valley in its CGI doggo star. Definitely had something in my eye.

A sly, penetrating zing and a frisson of Insta-influencer horror — of the oppression of performative perfection against a marzipan backdrop — renders Austen’s fluff and nonsense deadly serious.

Guerilla filmmaking is at its most charming in this melancholy romance set — and improvised and shot on the fly — in the 2018 Pyeongchang Olympic Village. Delightful and delicately observed.