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Scott Tobias

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.

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