Scott Tobias

The more Frankel and McKenna acknowledge that their fresh-out-of-college heroine is now a seasoned editor in her 40s, the better The Devil Wears Prada 2 gets, not least because it doesn’t have to jettison the upscale fantasies and juicy machinations of Miranda's world entirely. Like Miranda herself at one point in the movie, it’s healthy to spend a little time flying in coach.

The words these characters say to each other are mostly boring and obscure, and it’s a mad scramble to figure out what’s making them so agitated. Keeping up with the film becomes as hard as it is to care.

While Blue Heron has an experimental quality that might encourage you to intellectualize the way film processes memory, its payoff is as personal and emotional as movies get. It’s one from the head and the heart.

The Mummy takes its silliness far too seriously.

The Christophers is a slippery customer, an ingenious and twisty two-hander that shifts in tone as Lori and Julian get their hooks into each other. Coel and McKellen prove to be a combustible pair, two actors of contrasting generations, genders, and race who parry in darkly funny sessions that morph in complexity as their characters continue to try to outflank each other.

It’s a piece of escapism that can’t escape from itself.

Though it always feels like Emma and Charlie (and the movie) are one productive conversation away from putting the entire matter to bed, The Drama doesn’t let anyone off the line until the last possible moment. It’s a productively excruciating experience.

The true puzzle here is grief, that nebulous process where there’s no clear answer or road map, just behaviors and rituals that feel distinctly removed from the flow of everyday life. Petzold and his cast spend time in that stream, and it’s an alluring feeling to drift along with them.

The secondhand guilt that comes from watching a conscientious woman reckon with her role in an institutional sin is immense and it’s a credit to Jude that he’s so willing to make his audience uncomfortable.

The satirical promise of Ready or Not 2 leads to few comic payoffs—or even much resembling a joke, despite the film’s irreverent tone—and the snippiness between Grace and Faith seems forced after they’ve been taking fire together for so much of the film. Here’s hoping that Ready or Not 3: Olly Olly Oxen Free better meets the moment.