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If Hokum proves anything, it’s that McCarthy isn’t just part of this new wave of horror filmmakers—he’s carving out his own narrow corridor within it. A place where folklore, psychology, and just enough chemical suggestion collide.

While it’s fun to see the characters back in action, The Devil Wears Prada 2 is overstuffed and meanders. The film also suffers from self-consciousness. Too many celebrities show up in ways that feel pointless, turning TDWP2 into self-congratulatory mush.

Harlin has had a long and uneven career leading up to this. Though he isn’t quite old enough to have tackled Deep Water back in 1979, he did make Cliffhanger and Die Hard 2 in the 1990s, and this feels like a kind of spiritual successor to those star-driven action movies.

It’s difficult to assess what’s more compelling in this story: the characters, real Canadian salt-of-the-earth people who were that desperate enough to go through with the scheme, or the actual simplicity and near-success of the scheme itself.

Zweig’s hope is that his film helps give people permission to talk. Participants describe the decision-making involved in whether or not to disclose a loved one’s suicide — they don’t mind talking about it, but it can make other people uncomfortable. As one man says about his loss, “As hard as it is, please ask me about it.” Zweig asked. The result is a lean, unfussy, and very human documentary. May we all have Zweig’s courage.

It would have been a nice touch to have Switzer, Watt-Cloutier, and Farmer meet and interact. If nothing else, it might have given Tough Old Broads a connectivity beyond three fascinating stories, separately told.

Fuze’s denouement is terrific, completely unpredictable and surprisingly funny. It’s as if summer blockbuster season came early. Fuze is… wait for it… a must-see blast.

Is this about forgiveness as a pathway to love? Lowery doesn’t sew it up for us in a neat package or give us the answers, but I have no doubt that anyone who resonates with the film will come away with thoughts of their own.

I Swear is what’s usually described as a “crowd pleaser” but there is an issue with the way the film conveys the alienation John Davidson feels. A viewer gets a pile-on of terrible events rather than the deep character dive required for emotional investment.

If you don’t know much about Michael Jackson and are content to keep it that way, Michael is the film for you.