Scott Tobias

The politics of Disclosure Day are allusive at best, but Spielberg and Koepp are strongly aware that they’re making a film at a polarizing time, when human qualities as basic as empathy and openness are not something we can expect everyone to possess. Spielberg isn’t the type to succumb to cynicism, even now, but Disclosure Day turns uncertainty into its own level of tension, right through the emotional final moments of the film.

The drama leading up to the event is played at the highest of stakes, and Scott’s terrific performance, understated yet firm in its conviction, gives the film the same sturdy backbone that Stagg provided for the good guys.

Carolina Caroline posits itself as more of a tragic love story than a traditional crime picture, and it’s Weaving’s affecting performance that finally keeps the film ahead of the heat.

The basic formula of a bounty hunter and his lovable, Force-wielding companion delivers the goods, even if the setpieces tend to bleed into each other after a while. What’s missing is variety and soul, replaced by the dusty returns of Favreau and Filoni still playing around in someone else’s sandbox

There are some good lessons here about how a country can slip past oligarchy into full-on Orwellian autocracy, but Assayas cannot find the right packaging for it.

Though Hit Me Hard and Soft doesn’t “reinvent” the concert film, as the promotional language promises, Cameron’s mastery with 3D photography does make for an immersive experience, and there are some playful touches, too, like a handheld 3D camera that Eilish often holds in her right hand while the microphone rests in her left.

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.