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.

If you're curious about why the demonstrators are so angry, this is why they're so angry.

Though aimed at a young audience, this is one of those superhero adventures that will keep the adults entertained as well.

The movie is kind of sweet and kind of goofy, and works because its heart is in the right place.

There are elements in the movie that make it worth seeing, and that set it aside from the routine movies in this genre.

A visually arresting, consistently entertaining story featuring a host of endearing and memorable characters. Everyone in the ensemble is excellent, but the standout is Awkwafina, who does some of the best animated voice work I’ve ever heard.

This movie is bat-bleep crazy even as it makes solid and thought-provoking arguments. It veers all over the place, at times scoring major laughs, on occasion working quite well as a social satire and a screwball romance. But it also falters with some running jokes that stumble and collapse, and a few cringe-inducing scenes that aim for provocation but seem forced.

I enjoyed the film more than I expected to. It's harmless, simple-minded.

Backstage at the Muppet works, we see countless drawers filled with eyeballs, eyebrows, whiskers and wigs. It's the only world Kevin wanted to live in, and he made it.

You have to make some distinctions in your mind. In one category, "2001: A Space Odyssey" remains inviolate, one of the handful of true film masterpieces. In a more temporal sphere, "2010" qualifies as superior entertainment, a movie more at home with technique than poetry, with character than with mystery, a movie that explains too much and leaves too little to our sense of wonderment, but a good movie all the same.

A whimsical comedy, very whimsical, depending on the warmth of Segal and Sarandon, the discontent of Helms and Greer, and still more warmth that enters at midpoint with Carol (Rae Dawn Chong), Sarandon's co-worker at the office.

Panic about pop culture is not new. Yet Antiviral finds a novel angle of attack.

Always sweet and sometimes surprisingly touching.

His story is simple, unadorned, direct. Only the margins are complicated.

A good film for most of the way, and then a powerful film at the end, when, in the traditional Shakespearean manner, all of the plot threads come together, the victims are killed, the survivors mourn, and life goes on.

Preserves the flavor of the original and even improves upon it.

The Killing of a Sacred Deer never hedges its bets, never takes its foot off the gas. The same can be said of the actors, from skilled veterans Farrell and Kidman to young Barry Keoghan.

Christopher Nolan's The Prestige has just about everything I require in a movie about magicians, except ... the Prestige.

I have problems with Naqoyqatsi as a film, but as a music video it's rather remarkable.

As in "The Wedding Banquet," Lee shows off a real gift for fleshing out characters with quick, deft strokes. [19 Aug 1994, p.41]

A movie made with charm and wit, and unlike some family movies it does not condescend, not for a second.

The result is not quite a documentary and not quite a drama, but interesting all the same. It uses the approach of Haskell Wexler's "Medium Cool" (1969), but without the same urgency.

Filmed in the colors of newborn Technicolor, plotted as a tribute to the conventions of Hollywood romance, filled with standard songs, it's by and for people who love those kinds of movies. Others will find it cliched and predictable, but they won't understand.

Berg was the pioneer for an indie TV entrepreneur like Lucille Ball.

Sutherland's performance is the film's treasure. Watching the way he gently tries to direct his headstrong young star, we are seeing a version of Phil Jackson's Zen and the art of coaching.

Nanette Burstein...provides steady, no-frills direction that includes snippets of Taylor’s movies, a myriad of behind-the-scenes photos and newsreel footage; there’s a nearly endless supply of material, given Taylor starred in some 80 films and offscreen was one of the most photographed and filmed people ever.

Detropia offers no solution to this crisis, and indeed there may be none. This documentary is more eulogy and elegy.

A brawny space opera, transplanting the conventions of Western, cop and martial arts films to the Red Planet.