The Devil Wears Prada 2, the sequel to the 2006 comedy that’s not at all about Anna Wintour, is a good time, even if the high-pressure world of Vogue, er, Runway magazine is no longer the epitome of New York luxury and glamour it was back in the aughts.

The Drama, for all its heat, is not perfect. I wasn’t won over by its climactic series of calamities that fall in rapid succession like dominoes at the end. However, most movies are completely forgotten by the time the credits roll. This one, like it or not, lingers for days. It’ll likely wind up one of the most controversial movies of the year.

During a moment in which movies tend to be either cynically corporate or bleaker than a black hole, “Project Hail Mary” dares to be about that once-great driver of drama: friendship.

Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio.

This is a sexy, funny, ravishing and dark revision that keeps Heathcliff’s frightening obsessiveness, emotional toxicity and sadism intact while ably contorting the tale into a decadent, modern, yet still distinctly gothic, romance.

Only an actress as caution-to-the-wind as Colman could connect so profoundly with a patio chair. Skarsgard’s sensitivity also helps.

Wladyka keeps the film lively with a sparkler aesthetic and a flair for musical storytelling.

Familiar though it is, the skillfully made movie finds vigor in the been-there-done-that.

Issues millions of people face everyday are addressed cleverly and poignantly, and never without a hint of humor. Wilde isn’t really interested in sentimentality, either, and her movie hits harder for it.

In short: Too Many Cooks plus too many minutes.

It’s got something for everybody — toplessness, threesomes, dildos, ball gags, S&M and, of course, art-world satire.

Fiennes is magnificent, and a scene involving him and Iron Maiden’s song “Number of the Beast” will go down as one of the most buzzed-about sequences of 2026. Were it written for a grisly horror movie, Alex Garland’s climax would fit snuggly into a Shakespearean comedy.

This movie’s got as many cliches as Madison’s got cheese curds. But script aside, Jackman and Hudson onstage are effervescent and, speaking as someone who’s never mounted a motorcycle, the songs rock.

Whenever there’s a lull here, a big laugh soon comes along with the force of a boa constrictor that conceals the flaws.

No. 3, with a reported price tag of more than $400 million, is the most visually glorious of the trio, adding fresh and imaginative beings and environments that further flesh out one of the all-time great fantasy locales.

It’s cinematic Mountain Dew. You’ll be wired for the entire 2½ hours.

What’s best and most consistent about “2” is how flippin’ funny it is.

Rental Family is a heartwarming jewel of a movie that is a dazzling showcase of Japan’s urban and natural beauty, instead of the usual depiction of hordes of tourists surrounded by skyscrapers and lit by LEDs.

Darker and grimmer Act 2, though, by a hair, makes a meatier movie because characters aren’t as silly — the first flick was practically a pageant — and they are actually propelling toward a satisfying conclusion.

As for Broadway buffs and lovers of old New York, the witty, hilarious and haunting movie starring a totally transformed Ethan Hawke as musical-theater lyricist Lorenz Hart will have them utterly bewitched.

Really, “Small Player” is a great movie until it abruptly isn’t.

Bugonia buzzes by, if sometimes nauseastingly, and is a huge improvement from Lanthimos’ episodic drivel last year.

Forty-three years later, “Tron: Ares” is groundbreaking for being the first “Tron” film with a discernible plot.

Panahi is keenly aware of his limitations — both governmental and budgetary — and has crafted a taut, intimate and blood-pumping story around them. Talk about great art being born out of impossible circumstances.

For the most part, however, “Deliver Me From Nowhere” is in conversation with where Springsteen’s mind and passions rest today, as evidenced by his memoir “Born to Run” and his introspective Broadway show — revisiting the mansion on the hill and returning to his father’s house.

Centering around a stoic woman who elbowed her way to the top of her field in a world of men in tweed suits, only for it all to be put at risk, the plot has heavy shades of 2022’s “Tar,” which is a much better movie.

With this visionary director — one of Hollywood’s best — it’s one winner after another.

For those who do not have a room in the house devoted to Elvis memorabilia, or care a lick about the guy, “EPiC” is still an energizing experience. To my mind, there’s nothing better than observing the greatest artists of all time do what they do best — unvarnished.