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A fresh and breezy way to steer the superhero genre and a testimony to the main character’s appeal and versatility.

Run Time: 2:03
U.S. Release Date: 2018-11-23
MPAA Rating: "R" (Nudity, Sexual Content)
Genre: Drama
Director: Hirokazu Kore-eda
Cast: Lily Franky, Sakura Ando, Kirin Kiki, Mayu Matsuoka, Jyo Kairi, Yuri/Lin

Affirms Kore-eda’s status as today’s foremost Japanese director whose careful observations about humanity establish him as a worthy successor to Ozu.

Even the most hard-hearted viewer is likely to have an emotional reaction; this is as much a testimony to the way Cooper tells the tale as to the story itself.

For those who appreciate documentaries of this sort, it’s a reasonable candidate for theatrical viewing.

Run Time: 1:46
U.S. Release Date: 2018-09-07
MPAA Rating: "PG-13" (Profanity, Sexual Content)
Genre: Romance/Comedy
Director: Ian Samuels
Cast: Shannon Purser, Noah Centineo, Kristine Froseth, RJ Cyler, Loretta Devine, Alan Ruck, Lea Thompson

Despite suffering from some third-act narrative problems, this high school rom-com goes down easily and boasts a strong, lived-in performance by Shannon Purser.

Run Time: 1:42
U.S. Release Date: 2018-08-31
MPAA Rating: "PG-13" (Profanity, Violence)
Genre: Thriller
Director: Aneesh Chaganty
Cast: John Cho, Debra Messing, Michelle La, Joseph Lee, Sara Sohn

A taut, effectively paced mystery-thriller with a powerful emotional component.

Although the production is too long and overreaches, it has a bizarre, crazy appeal that’s difficult to shrug off.

Retains the edge-of-the-seat and nihilistic qualities of its predecessor, but there are shifts to the overall tone, which is neither as stark nor as ominous.

A coming-of-age story characterized by comedy-infused drama and a decidedly female point-of-view.

Run Time: 1:57
U.S. Release Date: 2018-09-14
MPAA Rating: "R" (Profanity, Sexual Content, Nudity, Violence)
Genre: Thriller
Director: Paul Feig
Cast: Anna Kendrick, Blake Lively, Henry Golding, Andrew Moodie, Linda Cardellini, Jean Smart

The movie becomes so obsessed with narrative switchbacks that it comes close to straying into self-parody territory.