“The Kitchen” is about three women who can handle the heat and still want out of the kitchen. They want to move into The Kitchen, as in Hell’s Kitchen, that peculiar slice of Manhattan in the 40s and 50s stretching from 8thAvenue west.

If nothing else, “Midsommar” may make you re-think that Scandinavian vacation you’ve been considering.

As anyone who saw last year’s shocking “Hereditary” knows, filmmaker Ari Aster doesn’t fool around. “Midsommar” is a horror movie and a half.

“The White Crow” is so-so which, given what it’s trying to do, is almost a rave. Some geniuses seem replicable on film. I’ve bought versions of Orson Welles, Marilyn Monroe. And Elvis. But I’m not so sure how I’d do with a Brando or a Hepburn (Katharine or Audrey). Or a Rudolph Nureyev.

“I don’t want a lawyer,” protests Judi Dench in the first scene of “Red Joan.” “I haven’t done anything wrong.”Oh, but she has. She’s done this movie.

A fictionalized account of the life of British spy, Melita Norwood – here called Joan Stanley – played in old age, by Dench and played in full bloom of her espionage career by Sophie Cookson.