As stuffed with soap-opera clichés as its cinematic precursors, but this is nevertheless a solid and diverting rescue procedural… and it’s somehow even more shocking for how mundane its disaster is.
The Disney paradigm is hard at play again here, its familiarity offset by its inspiration in Southeast Asian culture and mythology. Sweepingly told, gorgeously animated, and audaciously optimistic.
A fictional version of a story we know in the abstract, told with hushed reserve and brutal unsentimentality. An incisive, nontitillating female gaze on sexual abuse that never sensationalizes horror.
Sarah Pirozek weaves an elegant, noirish tragedy on a micro budget, but it’s far more effective as a portrait of the miserable discomposure of modern teen life than as a feminist vigilante thriller.
Offbeat portrait of an unconventional girl is all over the place, sometimes detouring into the cringeworthy, as it tries to depict the emotional familial confusion its tween protagonist is navigating.
Acceptably inoffensive, if less than wholly engaging. At least Liu’s strong, stately Mulan is a wonderful role model for girls who aren’t much interested in conformity and adhering to expectations.
An astonishingly beautiful coming-of-age story of startling specificity and intense intimacy, yet universal in its compassionate depiction of a child’s perspective dawning on mature self-awareness.
Striking sci-fi mood piece, all eeriness and ookiness, wonder and dread. Explicitly Twilight Zone–esque, summoning a midcentury-America innocence in order to shatter its narrowness (and our own).
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.
Coming-of-age melodrama about misfit girls is at first passingly diverting, but it whips up mystery and suspense where it shouldn’t be, diminishing and minimizing an already neglected kind of story.