Moira Macdonald

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.

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.

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.

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

What really lingers after The Sheep Detectives is its tone: earnest, uncomplicated sweetness, rooted in the love that we — whether human or sheep — have for those with whom we share our lives, and a gentle acceptance of loss as part of that love.

The Devil Wears Prada 2 gives us a lot to look at, and Hathaway and Blunt in particular are a pleasure (they have a scene together, late in the film, that’s almost worth the ticket price right there), but it’s flat Champagne: maybe worth drinking in a pinch, but unsatisfying.

Yes, this is a standard rom-com, in all the best of ways — both playing with the genre’s well-trodden tropes, and letting us enjoy how much fun they can be.

The film doesn’t have much to say about its central questions, and its ending feels inevitable but also unearned.

Byrne, a recent Oscar nominee for “If I Had Legs I’d Kick You,” holds it together.