IndieWire

For Girls Like Girls the movie, the final result is less a standalone work of great cinema announcing Kiyoko as a feature director, and more an act of dreamy devotion designed to comfort her core fanbase. That’s not necessarily a bad thing. But it does change who, and perhaps what, this soulful and peculiar film adaptation is for.

But for all of its teachable wisdom, this movie knows that life is never sweeter than it is during the moments, and years, when we simply can’t accept that love is also made out of plastic.

There’s only so much marveling at brilliant and grotesque creature designs that can be done before the story needs to get on its feet, but I Am Frankelda does eventually click into place once its world is fully established.

This is the action movie of the year so far as American theatergoers should be concerned, and nothing else really comes close.

The Death of Robin Hood isn’t revisionist history — it’s a history of revisionism. One that fittingly creeps further into fiction with every claim it makes towards “the truth,” as Sarnoski’s ultra-austere effort to cut through a millennium of myths can’t help but create a hard-to-swallow fable of its own along the way.

Far-fetched as this popcorn movie gets, it crucially never loses sight of the notion that to look outward is to look within (and vice versa), a theory that only grows clearer over the span of a blockbuster whose 79-year-old director still peers back at his childhood for a better view of the stars.

Filled with sight gags, innuendos, and puns galore, Stop! That! Train! has a shaky hit or miss ratio in its humor, with great jokes wedged between hacky bits that land like a botched lip sync death drop. And it’s unmistakably a fan only affair.

Ryuya Suzuki’s masterful anime, which spans the century-long life of a J-Pop star, makes it impossible to ignore how little it shows you.

The most compelling thing about Office Romance, which would be as formulaic as it gets if not for its admirably deep bench of deranged supporting characters, is that it gives Lopez the chance to publicly negotiate between the extremes of her own screen image — to explore the frustrations of being a self-possessed woman who has to shrink herself down in order to maintain her power.

Scary Movie 6 manages to come across as thoughtless and toothless at the same time.