The Seattle Times

Girls Like Girls has a few slow moments, but Kiyoko beautifully captures the looseness of teens hanging out, the vague endlessness of summer when you’re young and the shimmery, shivery feeling of first love.

What makes the movie sing, as with its predecessors, is its sweetness. Five movies in, it’s still poignant to think about toys having a relationship with their children, loving them and trying to keep them safe in an ever-changing world.

Sonomura’s fight choreography blends seamlessly with Meteor Cheung’s fluid cinematography; long, circular takes capture the action in full, and Sonomura stages sequences that utilize every star’s unique fighting style while also finding a rhythm and flow among the different practices.

Disclosure Day isn’t really about the action, exemplary as it is; it’s about connection — human and otherwise — and about Margaret and Daniel slowly realizing what they know, and how they can use that knowledge for good.

Dosa’s film shouts loud and true, giving it a strong chance at enduring — even as it remains painfully aware there is no guarantee anything, no matter how much we love it, lasts forever.

The new message is nice, but the most crucial element is the carefully calibrated tone, of light irony and deep reverence, which will appeal to Gen X and elder millennials, who have developed a nostalgic, yet winking appreciation for the material.

A triumph of cinematography, editing, production design and visual effects, you almost wonder whether Parsons may have ventured into the real backrooms to shoot his film.

Funny, occasionally raunchy and dressed in a deliciously rainbow-bright array of costumes, Boots Riley’s fizzy caper “I Love Boosters” is just the thing for summer.

Fan service all the way with this one, though it would have benefited from less slam bang and more humor. However, fans will probably love it.

Barker has a knack for jump scares — and for making a wildly fanciful story feel real.