"Today is the last day we will ever be this young!" says Ryan (Regina Hall), exhorting her friends Dina (Tiffany Haddish), Lisa (Jada Pinkett Smith) and Sasha (Queen Latifah) to seize the moment on their trip to New Orleans. It's the sort of pronouncement that comes easily to Ryan, a successful author described as "the second coming of Oprah," and Hall sweetly sells the line – and, with her trio of co-stars, the movie.
Perfecting the raunchy, randy, female-driven comedy can be a tall order. "Bridesmaids" showed it could be done, though such successes can be few and far between. "Girls Trip" proves to be the heir apparent to "Bridesmaids," a film about female friendship that nails the comedy, the boldness and the heart. There's no need for high concepts or outlandish premises here; all that's necessary is four longtime best friends and a city built for sin.
BEATRIZ AT DINNER. 3 stars. A Mexican-American nurse ends up at a dinner among wealthy California swells (John Lithgow, Connie Britton) causing friction-filled conversation that crosses lines of class and culture. From director Miguel Arteta and writer Mike White. 1 hr. 23 R (adult themes, language, class warfare) – Gary Thompson
Ratings by the Motion Picture Association of America are: (G) for general audiences; (PG) parental guidance urged because of material possibly unsuitable for children; (PG-13) parents are strongly cautioned to give guidance for attendance of children younger than 13; (R) restricted, younger than 17 admitted only with parent or adult guardian; (NC-17) no one 17 and younger admitted.
Lily Collins was struggling to put the weight back on. She'd whittled herself down to a skeletal frame to play an anorexic young woman in "To the Bone" – a risky prospect, considering she was only a few years into recovery after her own battle with an eating disorder. She'd been warned by medical experts and nutritionists that regaining body mass would be difficult, both physically and psychologically. But she didn't anticipate that the experience could affect her standing in Hollywood too.
Something curious happens to time in Christopher Nolan's movies. On screen, it twists and dances and coils enticingly; off screen, it vanishes. His magnificent new film, "Dunkirk," seems to be over in a flash – you disappear inside of it and it changes you, as all great movies do.
When a wounded Christian Grey tries to entice a cautious Ana Steele back into his life, she demands a new arrangement before she will give him another chance. As the two begin to build trust and find stability, shadowy figures from Christian’s past start to circle the couple, determined to destroy their hopes for a future together.