Love, Gilda is a very affectionate reminder of her brief and brilliant career, a heartfelt love letter whose title might be more accurate without the comma.

Here is a movie made for and about the people who believe they are the essence of American normalcy, a movie that dutifully flatters and celebrates them even as it works to expand who that normalcy actually includes.

if Madeline’s Madeline is sometimes unconvincing and frequently unnerving, it is never uninteresting. In its final moments it ascends into heady, almost visionary territory, like a balloon caught in a sudden updraft, and becomes a singular and strange experience.

Mamma Mia! Here We Go Again is one of the most batshit crazy pieces of outright nonsense this writer has ever had the pleasure of encountering, and while calling it an excellent film would be going way too far, I enjoyed every single goddamn second of it.

Okada both wrote and directed Maquia, which showcases her ability to depict complex relationships and project delicate character arcs.

This 21st-century installment of the Mary Poppins story depends perhaps a bit too much on our lasting goodwill for the first one. But it also provides enough pleasure on its own to leave us hoping it won’t be 54 years until that familiar prim figure makes her next appearance through an opening in the clouds.