Films

Tony

2026

Teenage Sex and Death at Camp Miasma

2026

Finding Emily

2026

The Devil Wears Prada 2

2026

Twenty years on from the events of the first film, the fashion world Andy Sachs once fled has changed around Miranda Priestly — and Runway, the magazine she built into a cultural instrument, now requires rescue rather than mere survival. Frankel structures the sequel as a deal-making drama inside a dying industry, with Emily Charlton's ascent to luxury-brand power turning what was once a hierarchy of humiliation into something closer to a negotiation among equals. The casting geometry does most of the positioning work: Hathaway, Streep, Blunt, and Tucci returning to roles that the first film fixed clearly in the culture, now repositioned by where each character has landed.

The Breadwinner

2026

Nate Wilcox has spent his whole adult life as the family's earner; when his wife Katie lands a deal on *Shark Tank* and leaves for an extended business trip, he's suddenly the one holding down the house. Eric Appel builds the film as a domestic role-reversal comedy, running the joke not on incompetence but on the specific disorientation of a man whose identity was built around a function he no longer has. Nate Bargatze and Mandy Moore play the couple, with Bargatze's deadpan understatement carrying most of the weight once the premise kicks in and Katie exits the frame.

Scary Movie

2026

Twenty-six years after the original Core Four survived a masked killer whose very existence felt like a copyright violation, the gang reassembles for another round. Michael Tiddes directs the Wayans brothers and Anna Faris and Regina Hall back into a franchise that built its reputation by running genre conventions through a blender — jokes arriving faster than the plot, parody operating less as commentary than as maximum-density reference fire. The 2026 iteration promises no horror IP will be left standing, which frames the whole enterprise as a catalog sweep: how much has accumulated since 2000, and how much of it survives the treatment.

The Holdovers

2023

Paul Giamatti plays a classics instructor so comprehensively disliked by his students that being assigned to supervise the handful left behind over Christmas break reads less as punishment than confirmation. Alexander Payne builds the film as a three-character chamber piece set against the snowbound quiet of a New England prep school — a curmudgeon, a sharp and directionless teenager, and a cook newly bereaved by Vietnam, each stranded in their own way. The comedy and the grief are kept in the same register throughout, neither subordinated to the other, and the film's method is essentially to let proximity do the dramatic work.

The Devil Wears Prada

2006

A Midwestern journalism graduate lands a job she can barely spell — assistant to Miranda Priestly, the editor of a fashion magazine whose organizational gravity bends entire industries. David Frankel runs it as a workplace comedy that earns its dramatic pivot: the first half plays the culture gap for sharp laughs, the second turns quietly on what the protagonist is becoming by learning to survive it. What makes the film work as a formal object is Streep's performance, which refuses to play the tyrant for camp. Miranda speaks softly, rarely repeats herself, and the camera gives her the room a scene's true power source deserves. Emily Blunt and Stanley Tucci fill the margins with precision.

Over Your Dead Body

2026