From its YA market-friendly nonsense title to its insistent poptimist score and tired elevator pitch . . . Giant Little Ones has a lot of strikes against it. It’s a bit of a surprise, then, that Keith Behrman’s sophomore feature is as good as it is, as slickly edited and smooth-down-the-hatch as its Netflix youth-oriented cousins like For All the Boys I’ve Loved Before, but pleasantly rumpled in a way they never seem to be.
September 05, 2018