| Columbia Pictures | Release Date: December 17, 2021 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
50
Mixed:
10
Negative:
0
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Critic Reviews
It’s the gargantuan and deeply satisfying Spider-Man: No Way Home in which the former Billy Elliot proves he’s more than a teen idol with a perfect American accent. This time, his Peter’s got gravitas, emotional oomph, brutality, believable love, an anguished scene in the rain! The movie is the actor’s best performance yet, in anything, Spandex or no.
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Holland provides the glue and the webbing for the latest Spidey outing Spider-Man: No Way Home. He’s physically nimble — he’s soon to play Fred Astaire in a biopic — quick-witted with his darting comic timing and an all-around easygoing presence. When the movie treats the mayhem and brutality for real, he’s there with the right degree of anguish.
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Suffice to say, No Way Home hits its hoot-and-holler beats about as skillfully as Endgame did. There are moments here that will probably inspire comparable choruses of applause; by opening a wormhole into the multiverse of past Spider-Man movies, Marvel and Sony have made something like an all-purpose Spider-Man sequel, shrewdly designed to hit a whole range of nostalgia centers.
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It’s the giving season, so, sure, give us some fan service. But the story is still there (though the second act does start to feel a bit long) and I felt some actual emotion, even with all this chaos swirling around. And in the end Spider-Man: No Way Home somehow finds a way to keep it all together.
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There’s nothing new or particularly memorable about the serviceable CGI and practical effects, but we remain invested in the outcome in large part because Holland remains the best of the cinematic Spider-Men, while Zendaya lends heart and smarts and warmth to every moment she’s onscreen.
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The film is 148 minutes long. Many of those minutes are good, some not so good.
But one of them is great. Unreservedly so. Redemption and catharsis arrive in a single fleeting moment that wonderfully and succinctly ties up everything Watts is attempting. Truly one of my favorite scenes in a movie this year.
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But that’s Spider-Man in a nutshell. He’s the guy who perpetually breaks stuff, then has to patch it all back together. (Good thing he’s got those webs.) No Way Home, with its use of the old characters from previous Spider-Man movies, really gets that idea. Power and responsibility are important. Seeing something through after you mess it up? That’s the mark of a genuine hero.
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The Film StageDec 16, 2021
The PlaylistDec 13, 2021
Spider-Man: No Way Home is maximalist, chock full of familiar characters and callbacks, and sometimes all that greatest-hits reminiscing is diverting and and entertaining. But it’s also not very necessary, making for a very regressive, fan-service-y ‘Spider-Man’ legacy-sequel that’s overly nostalgic for its heydays.
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If Spider-verse was about how anyone can be Spider-Man, No Way Home is a more authorized Spider-Man compendium; its tone leans more operatic than antic. Still, Watts has a human touch that can be lacking in superhero films, and nearly all of the actors who appear in No Way Home come across as individuals despite the high-concept narrative.
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What I will say is that director Jon Watts handles this grand convergence of properties old and current with enough verve to almost sustain the long run of the film. But there’s so much brand Frankensteining to be done that there’s really no time for quirk and texture; much of the bounce and sparkle of the past two Holland films is lost.
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The GuardianDec 13, 2021
It’s flawed for sure but still moves with more deftness than most (arriving after Eternals is a blessing for any Marvel film) and there’s an ending that suggests an awareness of its roots (post-credits scene aside), hinting at a promising way forward rather than back. Consider the curse of sorts sort of broken.
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Spider-Man: No Way Home unfolds as though it were written by a room full of children who had just eaten a whole bag of sugar; it’s a hectic series of plot twists and deus ex machinas that overturns an entire bucket of action figures and smashes them all together with delight. The film might be a new nadir of cinema—but it’s also an undeniably watchable good time.
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