
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.

Hollywood does not know how to make a movie about women that isn’t about the pursuit of romance. Even when women say they don’t want romance, they’re lying.

A portrait of grief that borrows the conventions of romantic comedies. There may not be a lot of passion here, but there is plenty of pleasant zing.

A breath of half-nasty, half-nice fresh air, set somewhere near the intersection between a parody of a romantic comedy and a straight-up example of one.

Bracingly off-kilter, a sort of anti rom-com that sends up a cultlike subculture while embracing the full, curious humanity of those who live in it.

I hate movies like this, in which it’s meant to be adorable when people lie in the name of love. And I particularly hate what this movie does to Lake Bell.

Apparently this was inspired by A Midsummer Night’s Dream, but it has about as much in common with that as Burger King does with Macbeth.

A film critic turned filmmaker seems intent on confirming negative stereotypes about critics… and that’s before his movie gets truly unpleasantly smug.

This high-school comedy avoids the worst clichés of the genre and resists rather than indulges the worst tendencies of adolescence. Which is a rare thing.

The animation is fresh, unique, and gorgeous. But we don’t need another tale of a man having exciting adventures while a woman waits around to marry him.