The Devil Wears Prada (2006)

For ages, I felt like I knew enough about this movie already. I even described an outside character as "a Devil Wears Prada type," by which I meant a harsh female boss. But when the title came up on a Disney+ list, I opted for a more informed opinion. Hey, a sequel's slated for next year.

Recent college grad Andy Sachs (Anne Hathaway) applies for a New York City job as second assistant to Miranda Priestley (Meryl Streep) before ever learning that the latter runs the Runway fashion magazine. Andy stands out with her relative disregard for fashion -- and that's why Miranda hires her: to try something new after a string of failures. It's a tough job, but Andy sticks with it and becomes more like others in the industry, which drives a wedge between her and her old friends, not least her boyfriend (Adrian Grenier).

Road to Perdition (2002)

This is one of those rare times that I allow myself to review a re-viewing because I'd mostly forgotten the first viewing. I have a friend (also a bit relevantly forgetful) to thank for convincing me to give it another go, as well as for helping me understand and appreciate what was happening.

In peak Al Capone-era Chicago, 12-year-old Michael Sullivan, Jr. (Tyler Hoechlin) knows that his father, Mike (Tom Hanks), has a dangerous job but gets curious about the unstated details, so he stows away in the car one night. Mike turns out to be a debt collector for the Irish Mob under John Rooney (Paul Newman), and Michael sees John's hotheaded son Connor (Daniel Craig, attempting a U.S. accent again) commit a murder even John wouldn't approve. Fearing that Michael won't keep his promise not to talk and resentful of Mike winning John's favor, Connor attempts to kill, directly or indirectly, the entire local Sullivan family, ironically missing only the two most important targets. Mike plans to take Michael to a relative in the fictitious town of Perdition, Michigan (modeled after Hell, Michigan?), but first he wants to neutralize the Rooneys' pursuing threat, possibly with Capone's aid via the one other real gangster mentioned, Frank Nitti (Stanley Tucci).

The Terminal (2004)

I had said not to expect many more reviews of Steven Spielberg-directed features. It's something of a surprise to myself that I took only about seven months to get to another.

Tom Hanks plays Viktor Navorski, a present-day airline customer from a fictitious nation apparently near Russia. During his flight, his homeland experiences a coup d'etat, resulting in a most extraordinary situation for himself: The U.S. neither recognizes his passport nor can send him back any time soon, so his only legal option is to stay at this NYC airport indefinitely. (If this sounds implausible, know that a real-life Iranian had to wait 18 years in a Parisian airport after the 1979 revolution.) Note that this comes in the first few minutes, so the running theme of the whole story is waiting, but I assure you that things do happen before Viktor's freedom....

Spotlight (2015)

Not since No Country for Old Men (2007) had I been so reluctant to watch an Academy Best Picture. It's a rather disturbing subject, especially to a member of the Roman Catholic Church congregation (I've lost faith but still sing in the choir). Besides, with only one other Oscar, how deserving could it be?

Set mainly in 2001, when allegations of child sexual abuse by priests were nothing new, this drama puts the, y'know, spotlight on The Boston Globe, particularly its four "Spotlight" section team members. New editor-in-chief Marty Baron (Liev Schreiber) thinks they've given too short shrift to such scandals, not least because local Cardinal Law (whose name confused me for a while) has been implicated in trying to hide a recent one. Remember, cardinals rank higher than archbishops, just short of the Pope. If the Globe finds compelling evidence of systematic cover-ups, it'll be big news indeed. But this endeavor faces a lot of obstacles, and not just in the form of direct Church power -- which, surprisingly enough, never really issues a threat.

The Wind Rises (2013)

Finally, I've seen every Best Animated Feature nominee from that year and, more importantly for myself, every feature ever directed by Hayao Miyazaki! Funny thing, tho: I kept swinging between eagerness to see it and trepidation. It seemed odd that his farewell piece would be his only non-fantasy (not counting The Castle of Cagliostro, which is fantasy only in the typical James Bond sense). In fact, it's based loosely on the life of real WWII plane engineer Jiro Horikoshi, whose vision prevented him from flying but whose "vision" let him excel at what he considered the next best thing.

Nevertheless, I detect enough commonalities to accept it as somewhat representative of Miyazaki's work. He showed a penchant for flight in Castle in the Sky, Kiki's Delivery Service, and Porco Rosso. He expressed interest in serious illness within families in My Neighbor Totoro. Several of his stories take place a while back. His penultimate co-writing, From Up on Poppy Hill, presents a similar level of realism and Japanese identity. The occasional desolate landscape does not detract from Studio Ghibli's signature background beauty, with that odd anime combination of modern crispness and old-fashioned low frame rates. And if you really demand a touch of whimsy, the protagonist does have quite a few dreams and daydreams, albeit less bizarre than mine.