Scott Tobias

When Martin Scorsese directed the nervy black comedy After Hours in 1985, it was both a catharsis and a reckoning, a means to reenergize himself after The King of Comedy flopped and address the hang-ups with women that united many of his characters. Instead of the jealous brutes in Mean Streets, Taxi Driver, and Raging Bull, that film follows an ineffectual office drone, played by Griffin Dunne, as a hoped-for sexual liaison turns into a luckless, surreal night in New York City.

Set in the days leading up to the fall of the Berlin Wall, Atomic Blonde takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect—and perhaps that respect only—it belongs to the tradition of post-war thrillers like Carol Reed's The Third Man or Andrzej Wajda's Ashes and Diamonds, where danger and intrigue exist where they shouldn't and the players involved are enmeshed in self-doubt and crippling mission drift.

Among the four stars of Girls Trip — the third and funniest summer comedy about hard-partying women in trouble, following Snatched and Rough Night — Tiffany Haddish is the least well-known, having bounced around in minor roles on film and television before landing a spot as a series regular on The Carmichael Show. All that stands to change overnight. As Dina, a pleasure-seeker of unapologetic, bull-in-a-china-shop relentlessness, Haddish is so incandescently filthy that a new ratings system should be developed to accommodate her.

Early in To the Bone, writer-director Marti Noxon's harrowing yet utterly approachable drama about eating disorders, Ellen (Lily Collins) considers a plate of food her stepmother has optimistically plopped in front of her. She runs down the calorie count: 280 for the pork, 350 for the buttered noodles, 150 for the roll, and 75 for butter.

The premiere of John Cage's famous/notorious composition "4'33"" in Woodstock, New York in 1952 stirred some measure of the outrage that greeted Stravinsky's "The Rite of Spring," only here the audience was upset by the notes they didn't hear, instead of the ones they did. The first of three movements started with the pianist opening the keyboard lid and ended with him closing it; that same pattern was repeated for the next two.

Kate McKinnon plays an Australian in Rough Night, a shrewd gender-reversal of sloppy-drunk bro comedies like Bachelor Party, Very Bad Things, and The Hangover. There's no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it's funny. McKinnon merrily swishes her dialogue around the accent and makes her character's jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train.

Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like Super Friends and Justice League, have made it easy to forget that Wonder Woman is not one of us.

Afghanistan has been dubbed the "graveyard of empires" for punishing the hubris of powerful invaders, but eight years after the 9/11 attacks lured American forces to Afghanistan, it had become more like a purgatory. With anything like a clear-cut victory long off the table and the "coalition of the willing" whittled down to half-hearted, qualified commitments from U.S. partners abroad, the mission had lapsed into dangerous inertia. The new President, Barack Obama, was looking to draw down troops in Iraq and Afghanistan, but ending the war completely was never a viable option.

Based on Nicola Yoon's YA novel, Everything, Everything is about an 18-year-old girl who suffers from severe combined immunodeficiency (SCID), a condition that's kept her inside the same house her entire life, due to potentially fatal vulnerabilities to allergens, viruses, and other infections. SCID is a real disease — David Vetter, the famous "bubble boy," died due to complications after a bone marrow transplant in 1984 — but for Yoon's purposes, and the film's, it's mostly a romantic obstacle, a thin but impenetrable barrier between the girl and whatever her heart desires.

Set in the middle of the Iraqi desert in 2007, after the "Mission Accomplished" banner was hung and the war was "officially" over, Doug Liman's The Wall belongs to a small subset of real-time thrillers, like Phone Booth and Buried, where the hero is pinned down in a single location for the entire film. And unlike the others, which violate the conceit with flashbacks and other scenes away from the action, The Wall offers no relief from a desperate and seemingly impossible situation.

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