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The best of “Spider-Man: No Way Home” reminded me why I used to love comic books, especially the ones about a boy named Peter Parker. There was a playful unpredictability to them that has often been missing from modern superhero movies, which feel so precisely calculated. Yes, of course, “No Way Home” is incredibly calculated, a way to make more headlines after killing off so many of its event characters in Phase 3, but it’s also a film that’s often bursting with creative joy.

Director Jon Watts and his team have delivered a true event movie, a double-sized crossover issue of a comic book that the young me would have waited in line to read first, excitedly turning every page with breathless anticipation of the next twist and turn. And yet they generally avoid getting weighed down by the expectations fans have for this film, somehow sidestepping the cluttered traps of other crowded part threes. “No Way Home” is crowded, but it’s also surprisingly spry, inventive, and just purely entertaining, leading to a final act that not only earns its emotions but pays off some of the ones you may have about this character that you forgot.

Note: I will very carefully avoid spoilers but stay offline until you see it because there are going to be landmines on social media.

“No Way Home” picks up immediately after the end of “Spider-Man: Far From Home,” with the sound of that film’s closing scene playing over the Marvel logo. Mysterio has revealed the identity of the man in the red tights, which means nothing will ever be the same for Peter Parker ( Tom Holland ). With an almost slapstick energy, “No Way Home” opens with a series of scenes about the pitfalls of super-fame, particularly how it impacts Peter’s girlfriend M.J. (Zendaya) and best bud Ned ( Jacob Batalon ). It reaches a peak when M.I.T. denies all three of them admission, citing the controversy about Peter’s identity and the roles his buddies played in his super-adventures.

Peter has a plan. The “wizard” he met when he saved half the population with The Avengers can cast a spell and make it all go away. So he asks Dr. Strange ( Benedict Cumberbatch ) to make the world forget that Spider-Man is Peter Parker, which, of course, immediately backfires. He doesn’t want M.J. or Ned or Aunt May ( Marisa Tomei ) to forget everything they’ve been through together, and so the spell gets derailed in the middle of it. Strange barely gets it under control. And then Doc Ock ( Alfred Molina ) and the Green Goblin ( Willem Dafoe ) show up.

As the previews have revealed, “Spider-Man: No Way Home” weaves characters and mythology from the other cinematic iterations of this character into the universe of the current one, but I’m happy to report that it’s more than a casting gimmick. My concern going in was that this would merely be a case of “ Batman Forever ” or even “ Spider-Man 3 ,” where more was often the enemy of good. It’s not. The villains that return from the Sam Raimi and Marc Webb films don’t overcrowd the narrative as much as they speak to a theme that emerges in the film that ties this entire series back to the other ones. For a generation, the line about Spidey was “With great power comes great responsibility.” “Spider-Man: No Way Home” is about the modern Peter Parker learning what that means. (It also helps a great deal to have actors like Molina and Dafoe in villain roles again given how the lack of memorable villains has been a problem in the MCU.)

So many modern superhero movies have confronted what it means to be a superhero, but this is the first time it’s really been foregrounded in the current run of Peter Parker, which turns “No Way Home” into something of a graduation story. It’s the one in which Parker has to grow up and deal with not just the fame that comes with Spider-Man but how his decisions will have more impact than most kids planning to go to college. It asks some interesting questions about empathy as Peter is put in a position to basically try to save the men who tried to kill other multiverse iterations of him. And it playfully becomes a commentary on correcting mistakes of the past not just in the life of Holland’s Parker but those of characters (and even filmmakers) made long before he stepped into the role. "No way Home" is about the weight of heroic decisions. Even the right ones mean you may not be able to go home again.

Watts hasn’t gotten enough credit in his other two Spider-Man movies for his action and “No Way Home” should correct that. There are two major sequences—a stunner in a mirror dimension in which Spidey fights Strange, and the climactic one—but it’s also filled with expertly rendered minor action beats throughout. There’s a fluidity to the action here that’s underrated as Mauro Fiore ’s camera swoops and dives with Spider-Man. And the big final showdown doesn’t succumb to the common over-done hollowness of MCU climaxes because it has undeniable emotional weight. I also want to note that Michael Giacchino ’s score here is one of the best in the MCU, by far. It’s one of the few themes in the entire cinematic universe that feels heroic.

With so much to love about “No Way Home,” the only shame is that it’s not a bit more tightly presented. There’s no reason for this movie to be 148 minutes, especially given how much the first half has a habit of repeating its themes and plot points. Watts (and the MCU in general) has a habit of over-explaining things and there’s a sharper version of “No Way Home” that trusts its audience a bit more, allowing them to unpack the themes that these characters have a habit of explicitly stating. And, no offense to Batalon, turning Ned into a major character baffles me a bit. He always feels like a distraction from what really works here. On the other hand, this is the first of these three films that has allowed Zendaya and Holland’s chemistry to shine. In particular, she nails the emotional final beats of her character in a way that adds weight to a film that can feel a bit airy in terms of performance.

“Spider-Man: No Way Home” could have just been a greatest hits, a way to pull different projects into the same IP just because the producers can. Some will see it that way just on premise alone, but there’s more going on here than the previews would have you believe. It’s about what historic heroes and villains mean to us in the first place—why we care so much and what we consider a victory over evil. More than any movie in the MCU that I can remember, it made me want to dig out my old box of Spider-Man comic books. That’s a heroic accomplishment.

In theaters on December 17 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

Spider-Man: No Way Home (2021)

Rated PG-13 for sequences of action/violence, some language and brief suggestive comments.

148 minutes

Tom Holland as Peter Parker / Spider-Man

Zendaya as Michelle 'MJ' Jones

Benedict Cumberbatch as Stephen Strange / Doctor Strange

Jon Favreau as Harold 'Happy' Hogan

Jacob Batalon as Ned Leeds

Marisa Tomei as May Parker

Alfred Molina as Otto Octavius / Doctor Octopus

Jamie Foxx as Max Dillon / Electro

Willem Dafoe as Norman Osborn / Green Goblin

Tony Revolori as Eugene 'Flash' Thompson

Angourie Rice as Betty Brant

Martin Starr as Mr. Harrington

Hannibal Buress as Coach Wilson

J.B. Smoove as Mr. Dell

J.K. Simmons as J. Jonah Jameson

Benedict Wong as Wong

Writer (based on the Marvel comic book by)

• Steve Ditko
• Chris McKenna
• Erik Sommers

Cinematographer

• Mauro Fiore
• Michael Giacchino

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Best Movies of 2021

Even when a film wasn’t great, filmgoing was. But there were some truly wonderful releases, ranging from music docs and musicals to westerns and the just plain weird.

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By A.O. Scott and Manohla Dargis

A.O. Scott | Manohla Dargis

The 10 best arguments for the importance of movies.

This year, it felt to me as if every good movie was also an argument for why movies matter. There is a lot of anxiety, pandemic-related and otherwise, about what the future of the art form might look like. Will everything be streaming except a handful of I.P.-driven spectacles? Will streaming platforms (and their subscribers) be receptive to daring, difficult, obnoxious or esoteric work? Anyone who claims to know the answers is a fool. What I can tell you for sure is that these 10 movies, and the 11 that almost made the list, do what they can to resist the dishonesty, complacency and meanness currently rampant around the world. They reward your attention, engage your feelings and respect your intelligence. Every little bit helps.

1. ‘ Summer of Soul ’ (Questlove)

This documentary about a series of open-air concerts in Harlem in 1969, interweaving stunning performance footage with interviews with musicians and audience members, is a shot of pure joy. The lineup is a pantheon of Black genius, including Stevie Wonder, Sly Stone, the Staple Singers, Mahalia Jackson and many more. But the film is more than a time capsule: It’s a history lesson and an argument for why art matters — and what it can do — in times of conflict and anxiety. ( Streaming on Hulu . )

2. ‘ Bad Luck Banging or Loony Porn ’ (Radu Jude)

From its hard-core opening to its riotous conclusion, this category-defying Romanian film captures the desperate, angry, exhausted mood of the present almost too well. A Bucharest schoolteacher (the brilliant, fearless Katia Pascariu) finds her job endangered after a sex tape she made with her husband goes semiviral. Meanwhile, the Covid pandemic and simmering culture-war hostilities turn everyday life into a theater of grievance and anxiety. Holding everything together — barely — is the abrasive intellectualism of Jude’s direction and the earnest rage that fuels his mockery. (In theaters.)

3. ‘ The Power of the Dog ’ (Jane Campion)

There are a lot of talented, competent, interesting filmmakers working today. Then there is Jane Campion, who practices cinema on a whole different level. The craft in evidence in this grand, big-sky western — the images, the music, the counterpointed performances of Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons and Kodi Smit-McPhee — evoke the best traditions of old-style Hollywood storytelling. But there is nothing staid or conventional in the way Campion tackles Thomas Savage’s novel of jealousy, power and sexual intrigue. (Streaming on Netflix .)

4. ‘Petite Maman’ (Céline Sciamma)

The death of a grandmother, the grief of a parent, the acquisition of a new friend — these ordinary experiences, occurring over a few weeks in the life of an 8-year-old girl, provide the basic narrative structure of this spare, perfect film. Whether it’s best described as a modern-dress fairy tale, a psychological ghost story or a low-tech time travel fantasy is up to you. What’s certain is that the performances of Joséphine and Gabrielle Sanz, real-life twins playing possibly imaginary friends, have a clarity and purity that Sciamma (“Portrait of a Lady on Fire”) deploys for maximum emotional impact. (Coming to theaters.)

5. ‘ Bring Your Own Brigade ’ (Lucy Walker)

This harrowing documentary about California wildfires is also, almost by accident, an exploration of the country’s polarized, chaotic, self-defeating response to the Covid pandemic. The picture Walker paints is complicated, partly because that’s the way people are: stupid, generous, reckless and brave. The movie is hardly optimistic, but its open-mindedness, compassion and intellectual rigor provide a buffer against despair. ( Paramount+ )

6. ‘ Bergman Island ’ (Mia Hansen-Love)

In a year when rumors of the death of moviegoing spread along with all the other bad news, it was delightful to encounter this warm, wry, emotionally savvy exploration of movie love, moviemaking and movie-centered tourism. Two filmmakers travel to Faro, a Swedish island where Ingmar Bergman lived and worked, and discover either that movies are life, or that there’s more to life than movies. (For rent on most major platforms .)

7. ‘ Drive My Car ’ (Ryusuke Hamaguchi)

A theater artist (Hidetoshi Nishijima), recently widowed, travels to Hiroshima to direct an experimental version of Chekhov’s “Uncle Vanya.” A young woman (Toko Miura), also stricken by loss, is hired as his driver. Out of this scenario — and out of Haruki Murakami’s novella — Hamaguchi builds an understated, multilayered meditation on the complexities of human connection. The spirit of Chekhov hovers in the background and is honored by the film’s unsentimental, compassionate regard for its characters. (In theaters.)

8. ‘Memoria’ (Apichatpong Weerasethakul)

Weerasethakul’s movies defy summary or easy categorization. To describe them as dreamlike is incomplete, since you never know who is doing the dreaming. In this case, it might be Jessica (Tilda Swinton), a Scottish expatriate living in Colombia. Or it might be alien visitors, the filmmaker, the Earth or time itself. What is certain is that this film sharpens the senses and activates emotions that are no less powerful for being impossible to name. (Coming to theaters.)

9. ‘ West Side Story ’ (Steven Spielberg)

Somehow, Steven Spielberg and Tony Kushner — and an energetic young cast of Jets and Sharks — pulled off a surprising cinematic coup. Respecting the artistry and good intentions of the original stage musical, they turned it into something urgent, modern and exciting. There’s a lot to unpack in the movie’s gestures of reverence and revisionism, but mostly there are big emotions, memorable songs and an unabashed faith that sincerity will always be stronger than cynicism. (Coming to theaters.)

10. ‘ The Velvet Underground ’ (Todd Haynes)

Like “Summer of Soul,” this documentary revisits the music of the 1960s in a spirit that is more historical than nostalgic. Rather than assemble present-day musicians to pay tribute to their forebears, Haynes concentrates on the Velvets in their moment and on the artistic scene that spawned them. In particular, he focuses on their connections to the experimental cinema that flourished in New York, work that inspires his own visceral, cerebral, visually dense style of storytelling. (Streaming on Apple TV+ .)

“Annette” (Leos Carax), “The Disciple” (Chaitanya Tamhane), “Flee” (Jonas Poher Rasmussen), “The Green Knight” (David Lowery), “The Hand of God” (Paolo Sorrentino), “King Richard” (Reinaldo Marcus Green), “Mogul Mowgli” (Bassam Tariq), “Parallel Mothers” (Pedro Almodóvar), “Passing” (Rebecca Hall), “El Planeta” (Amalia Ulman), “The Souvenir Part II” (Joanna Hogg), “Spencer” (Pablo Larraín), “The Tragedy of Macbeth” (Joel Coen).

MANOHLA DARGIS

The Best Film Was One in a Theater

In July, I watched one of the most mediocre movies that I’ve seen this year — and it was glorious. After more than 16 months of streaming at home, I went to a theater to watch Matt Damon sing the white-guy blues in “Stillwater.” The movie was poky and trite and irritating, and I reviewed it accordingly. And while I regretted it wasn’t better, I was still grateful because it sent me back to theaters, big screens and other moviegoers.

Those other people admittedly did give me pause. They were masked, well, most were, kind of, but could I be safe and feel at ease with these people for two or so hours? I was vaxed and masked but also still navigating being back in the world. But the room was great, the screen huge, and I decided that I could — though first I had to tell a guy near me that, yes, he did need to wear the mask he’d parked on his chin. He put it on. I settled in, back in the place that makes me supremely happy: I was at the movies.

Since then, I have watched many more new releases in person, including at two festivals where I gorged like a famished person (so many thanks to both the Toronto International Film Festival and the New York Film Festival). I had spent the first part of the year on book leave, and while I’d streamed plenty of new and old films then (hello, Marie Dressler!), I missed going out ( anywhere ). I missed really, really big bright images and I missed the rituals, including the quick search for the most perfect seat and the anticipatory wait for the movie to begin, for someone to hit the lights and start the show.

Movie critics tend to write about movies as discrete entities. Even when writing about franchise copies of franchise copies, we often stick to the object. Although we sometimes share how a movie makes us feel (happy, sad), we rarely write about the true depth of our experiences as we watched these movies — how it felt as the images flowed off the screen and into our bodies and memories — and how this too affected us. There are a lot of reasons for this, including reviewing conventions, which tend to measure movies by certain, traditionally prescribed, often literary and commercial values: Was it a good story, did it say something, is it worth leaving the house for, worth spending money on?

It’s a given that money is always part of the equation, as much of the discussion around the future of moviegoing underscores. Most of the chatter about moviegoing these days often devolves into journalists and industry types parroting the logic of capitalism, i.e., whatever industry power dictates. Netflix and other big streamers have had a huge impact, no question, and we can chat about what it all means in a few years. But whatever the rationalization, the reasons there’s so much intense focus on Netflix and Disney is their monopolistic grip not simply on the entertainment industry but also on the hive mind of the mainstream media. But there are other considerations, as well.

So, yes, more people will likely watch “The Power of the Dog,” the latest from Jane Campion, than any other film in her decades-long career because it’s on Netflix. But what matters is the movie. And you should watch it whether at home or, if you can, in a theater. It looks beautiful no matter the size of the screen. But I’m grateful that I’ve seen it several times projected in theaters. For starters, I could focus on it rather than the distractions of my home, but mostly I could more fully experience the monumentality of its images, could feel on a profound, visceral level both the claustrophobia of its shadowy interiors and the liberating, heart-clutching boundlessness of its open landscapes.

Like all the movies I love, “The Power of the Dog” got under my skin. I watched it, fell into it, felt it. And like all the movies I care most about, it is far more than the sum of its finely shaped story parts. I admire its narrative ebb and flow, but the movie’s meaning extends beyond its chapter breaks and dialogue. In Campion’s aerial shots of an arid, lonely land and in the anguished close-ups — in backlighted bristles of horsehair and in the rhythmic rocking of a strand of braided leather on a man’s body — she sets loose a cascade of associations. You see Benedict Cumberbatch , who plays its tormented villain, and in his strut you also see John Wayne, Gary Cooper, Clint Eastwood. You see the sweep of the western genre, the men and women you know, the world you live in.

1. ‘ Drive My Car ’ (Ryusuke Hamaguchi)

A masterpiece about life and death and art from one of the most exhilarating directors to hit the international film scene in a long while, “Drive My Car” draws from theater and literature — a splash of “Waiting for Godot” but mostly “Uncle Vanya” and the Murakami short story that gives the movie its title — to create a work of pure cinema. (In theaters.)

2. ‘ The Power of the Dog ’ (Jane Campion)

Much has rightly been made of Benedict Cumberbatch’s powerful performance as a malignant force named Phil in Campion’s latest. Much more should be said about how delicately and beautifully Kirsten Dunst , as Rose, holds the movie’s moral center with a gutting performance that shows you how brutally optimism can both die and be reborn. (Streaming on Netflix .)

3. ‘ The Velvet Underground ’ (Todd Haynes)

Everything comes together in Todd Haynes’s superb testament to a lost world that helped make our own: the music and art, the drugs and ideas, Lou Reed and John Cale, Andy Warhol and Jonas Mekas, the beauty and ugliness, the affordable New York housing and the artistic freedom that cheap rents allowed, the droning and strobing and darkening shadows that swallowed people whole. It’s all here. Watch it — play it — loud . (Streaming on Apple TV+ .)

4. ‘ Summer of Soul ’ (Questlove)

There’s much to love in Questlove’s documentary about a New York concert that took place in the summer of 1969, most obviously the music that takes you higher. But consider too the formal design and rigor, and how the movie contracts and expands in time with the onstage call and response, how Questlove narrows in on a moment of beauty — a soaring note, a sliding foot, a beaming face — only to gracefully expand your horizons as he dialogues with the past, the present and the possible future. (Streaming on Hulu .)

5. ‘ Passing ’ (Rebecca Hall)

Set in the 1920s, Hall’s exquisite heart-wrencher centers on two African American women, friends from childhood, who can and do present as white. One (Tessa Thompson’s Irene) will pass for convenience, as when she enters a racially restricted hotel, while the other (Ruth Negga’s Clare) lives as white. Separately and together, with yearning and dueling looks, they negotiate the color line, which W.E.B. Du Bois called “the problem of the 20th century” and that still stubbornly defines and divides this country. (Streaming on Netflix .)

6. ‘ Azor ’ (Andreas Fontana)

With chilled detachment and meticulous control, this shocking drama tracks a Swiss banker and his wife on a seemingly routine business trip through Argentina in 1980. As they travel about, the juxtaposition between the bourgeois homes they visit and the ever-present military creates an increasingly unnerving tension, culminating in a shattering finale. Here, every polite smile and bland pleasantry is in service to a world of evil. (Streaming on Mubi .)

7. ‘ The Card Counter ’ (Paul Schrader)

For decades, Schrader has been telling his favorite story — that of a man alone in a room, alone in his head — to greater and lesser if always interesting effect. Now, with Oscar Isaac, Tiffany Haddish and Willem Dafoe, Schrader tells that tale again, getting into your head with feeling, some scattershot politics, horrific violence and auteurist confidence. (Available on most major platforms )

8. ‘ The Disciple ’ (Chaitanya Tamhane)

Every so often, the title character, a Hindustani classical singer (Aditya Modak), rides through the dark night, the voice of a musical guru filling the air and stirring your soul. Our young singer yearns for greatness, but as the years pass and practice never quite makes perfect, the divide between aspiration and reality grows impossibly wider. In a year of wonderful soundtracks, this is the one that soars highest. (Streaming on Netflix .)

9. ‘ Wheel of Fortune and Fantasy ’ (Ryusuke Hamaguchi)

This movie, the other of Hamaguchi’s to receive an American release this year, is split into three intricate stories that turn on chance and were, he has said, inspired by Eric Rohmer. Not all of the parts work equally well, but all have moments of beauty and grace along with amazing, complex rivers of words. By the time a character rests a hand on her heart in a rush of feeling, you may find yourself doing the same. (In theaters)

10. ‘ Spencer ’ (Pablo Larraín)

Larraín’s atmospherically perfect (and creepy) drama is at once a blistering takedown of the British monarchy, a blazing psychological portrait and a queasily funny Gothic horror freak-out. If you’re still chuckling and sometimes weeping over that soap opera called “The Crown,” this may wipe off your smile — or just make you roar with laughter. (Available on most major platforms .)

“ Bring Your Own Brigade ” (a smart, cleareyed, solution-oriented documentary about the climate crisis that won’t leave you curled up in a ball sobbing); “ Dune ” (yeah, I know, but I dug this immersive big-screen spectacle, the sort Hollywood rarely produces today); “ The Electrical Life of Louis Wain ” (part of this year’s Benedict Cumberbatch wave and a must-see for animal lovers or, really, anyone with a beating heart); “ Faya Dayi” (a gorgeous dream to slip into); “ The First Wave ” (a moving, intelligent, deeply human documentary on the pandemic); “ In the Same Breath ” (a tough, compassionate look at the pandemic via China); “ Licorice Pizza ” (especially the truck sequence — I could watch two hours of that amazingly directed, staged and choreographed camera-and-wheel work); “ Prayers for the Stolen ” (stirring and upsetting); “ Preparations to Be Together for an Unknown Period of Time ” (a gorgeous labyrinth); “ Stillwater ” (eh, it isn’t good but it brought me back into theaters); “ The Truffle Hunters ” (a touching lament for rapidly disappearing communities and traditions); “ The Woman Who Ran” (elegant, wry, touching cinematic serialism).

An earlier version of this article misstated the name of an act. They are the Staple Singers, not the Staples Singers. 

How we handle corrections

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

Manohla Dargis has been the co-chief film critic since 2004. She started writing about movies professionally in 1987 while earning her M.A. in cinema studies at New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Hollywood reporter critics pick the best films of 2021.

A Japanese meditation on grief and art, a psychosexual Western chamber piece, a splashy movie-musical makeover from Steven Spielberg and striking directorial debuts from Maggie Gyllenhaal and Rebecca Hall were among this year's standouts.

By David Rooney , Jon Frosch , Lovia Gyarkye , Sheri Linden December 14, 2021 6:45am

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The stampede back to the multiplexes that was predicted for early 2021 didn’t quite happen, and the post-pandemic landscape for theatrical releases is still an uncertain blur, with the emergence of the Omicron variant unlikely to quicken the pace.

Still, getting away from our televisions and laptops and back to physical screenings provided an invigorating booster shot for lockdown-fatigued film critics, as did the return of Cannes, which bounced back from a year in limbo with one of its strongest editions in recent memory.

Likewise, the fall festival trail of Venice, Telluride, Toronto and New York, all of which delivered their share of jewels, suggesting that the pervasive anxiety in the ether over the past 18 months hasn’t hurt creativity. All but one of my Top 10 and one Honorable Mention came from those festivals, or from Sundance and Berlin earlier in the year.

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There were several others I would love to have included that got narrowly inched out — among them Jonas Carpignano’s A Chiara , Paul Schrader’s The Card Counter , Robert Machoian’s The Killing of Two Lovers , Rose Glass’ Saint Maud , Edgar Wright’s The Sparks Brothers , Emma Seligman’s Shiva Baby , Oliver Hermanus’ Moffie , Sian Heder’s CODA and Michael Sarnoski’s haunting debut, Pig , led by Nicolas Cage giving his best performance in years.

I was mixed on one of the year’s most widely embraced critical darlings, Paul Thomas Anderson’s Licorice Pizza , which felt more like a meandering string of vignettes than a cohesive narrative. But its evocative sense of a place and a vibe — the San Fernando Valley in the early ‘70s — and the beguiling gift of Alana Haim, who holds the screen with effortless command in her first movie role, provided much to savor.

In terms of studio releases, a weak villain and a sluggish midsection prevented No Time to Die from being top-tier Bond, but the action thriller gathered steam in its emotional conclusion, ending Daniel Craig’s tenure as 007 with a powerful valedictory salute.

Although we all grumble about the world domination of the superhero flick, I found plenty to enjoy to my surprise in three distinctive MCU entries this year — Black Widow , Eternals and especially the exciting spectacle of Shang-Chi and the Legend of the Ten Rings .

Read on for my picks for best of the year, followed by those of my brilliant colleagues Jon Frosch, Lovia Gyarkye and Sheri Linden. — DAVID ROONEY

1. Drive My Car In Ryûsuke Hamaguchi’s quietly ravishing masterwork based on a sliver of a short story by Haruki Murakami, the death of his wife leaves an experimental theater director — played by Hidetoshi Nishijima with a stoicism that conceals complex depths — to process his grief through art with a multilingual staging of Uncle Vanya . But it’s in the deepening bond he forms with a guarded young woman assigned as his driver, and the shared sense of loss that emerges during their rhythmic daily journeys in his beloved red Saab, that this symphonic exploration of the mysteries of human connection reveals its shimmering truths about forgiveness.

2. The Power of the Dog Jane Campion ’s first feature in 12 years is a departure from her forensic studies of the female psyche, delving instead with equal perspicacity into corrosive masculinity and repressed sexuality. A Big Sky Western like no other, this adaptation of the 1967 Thomas Savage novel casts a transfixing Benedict Cumberbatch as rugged Montana cattle rancher Phil Burbank and Jesse Plemons as his gentlemanly brother George, who upsets the household’s equilibrium when he brings home his fragile wife Rose, played with aching delicacy by Kirsten Dunst. Rose becomes the prey in Phil’s cruel games, but her sensitive beanpole son Peter, in a knockout performance from Kodi Smit-McPhee, defies expectations by shifting the power balance, turning the chamber drama into a startling queer revenge thriller.

3. The Worst Person in the World A key realization for me while watching Joachim Trier’s gorgeously melancholy account of the chaotic mess we make of our lives as we fumble our way to self-knowledge was how seldom we get a romantic comedy-drama in which the abrasive edges aren’t sanded off the protagonist. Played by the luminous Renate Reinsve with a flinty exterior and a churning inner restlessness, Julie is unapologetic in her mistakes as she pings between two men, Anders Danielsen Lie’s successful older underground comic book artist and Herbert Nordrum’s contentedly underachieving barista. The pressing nature of time chafes at Julie, but Trier deftly expands the lens as she confronts unresolved issues from her past and navigates shattering sorrow to glimpse a future in which she might finally own her choices.

4. Parallel Mothers Pedro Almodóvar is among the most generous of contemporary directors, lovingly contouring roles for an unofficial repertory company of which Penélope Cruz, like Antonio Banderas, is a core member. And as he did with Banderas in Pain and Glory , he coaxes career-peak work from Cruz in this sumptuous melodrama about the tangled knots of past and present. She plays Janis, a photographer digging into painful family history when she conceives a child with an archeologist supervising her case; a friendship formed in the maternity ward with a young mother adds another layer of turbulent mystery.

5. The Lost Daughter Maggie Gyllenhaal ’s assured debut as writer-director relocates Elena Ferrante’s novel to a Greek island, where Olivia Colman’s divorced academic, Leda, seems to identify a fellow traveler in maternal ambivalence in Dakota Johnson’s visiting American. Bringing a probing, often caustic perspective to its reflections on female relationships, motherhood and women’s struggle to carve a professional space outside it, this dark dream of a film dives into Leda’s murky interiority via another astonishing performance from Colman, equaled in flashbacks by Jessie Buckley playing the character in her younger years.

6. The Souvenir: Part II The rare sequel that reframes and expands upon the original in illuminating ways, Joanna Hogg’s autobiographical portrait of a young filmmaker trying to rebound from a toxic relationship that ended in tragedy is, like Drive My Car , a cathartic exploration of the healing power of art. Honor Swinton Byrne again brings emotional transparency and a rawness beneath the posh reserve of the director’s alter ego as she walks the tricky lines between artifice and authenticity, insecurity and creative vision.

7. West Side Story Steven Spielberg and screenwriter Tony Kushner’s thrilling reimagining of the 1961 classic combines the Technicolor exhilaration of large-scale vintage movie musicals with a distinctly contemporary awareness of the complexities of racial intolerance and the importance of dignified representation. The Puerto Rican characters in this Manhattan gangland clash are given dimensions they previously lacked, but then again, everything about this spectacular remake surges with fresh vitality, including the tragic romance.

8. Petite Maman Many films sailed beyond the two-hour mark this year, some less justifiably than others. Céline Sciamma followed her international breakthrough, Portrait of a Lady on Fire , with this perfectly compact curio, which packs more into a mere 73 minutes than many filmmakers can explore at any length. The time-matrix magic of a girl experiencing loss for the first time and meeting her own mother as a child in the woods would seem antithetical to Sciamma’s limpid naturalism. But the dream logic of childhood games is translated here in tangible everyday terms, finding wonder in simplicity.

9. Passing Tessa Thompson and Ruth Negga provide the pulsing emotional center of first-time writer-director Rebecca Hall’s exquisite adaptation of Harlem Renaissance author Nella Larsen’s 1929 novel about two Black women on either side of the “color line.” The atmospheric evocation of Jazz Age New York — rendered in richly textured black-and-white — ripples with the constant threat of people being unmasked in a thoughtful and moving consideration of identity in relation to race, gender, class and sexuality.

10. The Tragedy of Macbeth Joel Coen ’s stripped-down take on the Scottish play is furious and fleet, anguished and elemental, instantly taking its place among the great screen adaptations of Shakespeare, with spellbinding chiaroscuro visuals that evoke Dreyer. As the murderous Scot who would be king and the manipulative wife fueling his thirst for power, Denzel Washington and Frances McDormand lead a superlative ensemble, embodying not just ruthless ambition but also the panicked race against time to secure their place in history. And what Kathryn Hunter, playing all three witches, achieves with her diminutive physicality and harsh croak of a voice is extraordinary.

Honorable mentions: Compartment Numbe r 6 , Flee , The Green Knight , The Hand of God , I Carry You With Me , Identifying Features , Spencer , Summer of Soul , The Velvet Underground , Zola

Jon Frosch’s Top 10

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‘sting’ review: spooky space spider throws a monster-sized tantrum, ‘kingdom of the planet of the apes’ review: more maniacal monkeys in a middling sequel, ‘tarot’ review: cards on the table – this flimsy horror sucks, ‘let it be’ review: the beatles dust off their spellbinding 1970 break-up doc, ‘the fall guy’ review: ryan gosling’s ken-ergetic ode to stunt workers, ‘challengers’ review: zendaya’s titillating tennis drama is one of the year’s best movies, ‘civil war’ review: alex garland glimpses a scary future in this american horror story, ‘back to black’ review: marisa abela makes a worthy amy winehouse, ryuichi sakamoto – ‘opus’ review: a man alone with a piano and his genius, ‘godzilla x kong: the new empire’ review: titanic team-up goes crash, smash and bash.

Sting (2024) Movie Review

Plot summary.

C harlotte, an odd tween living in Brooklyn, discovers a spider. We see it come from outer space, but to her, it is a random one that can mimic sounds, so she makes it a pet. One that she has no problems feeding the many roaches that infest the building her grandmother Helga, and Helga’s sister, Gunter own and Charlotte’s step-dad, is the building supervisor of.

But Charlotte never expected this spider, no bigger than her fingertip, to grow and grow, eventually wanting far more than a handful of roaches.

Character Guide

Character description(s).

Charlotte, an artist and comic book writer, lives and plays in an old apartment building owned by her grandmother or her grandmother’s sister. Her activities include traversing the building through the vents, figuring out her place in her new blended family, and creating ideas for new comic panels.

• The actor is also known for their role in “ The Secret Kingdom .”

Helga is Heather’s mother. She has memory issues that cause her to often forget who people are and what she is doing, and it creates comical moments.

Gunter is Helga’s sister and the owner of the building, who is known for being cheap, rude, and cold.

Ethan is the building supervisor for now. When he isn’t fixing sinks or the boiler, he is trying to work on the comic Charlotte created, for which he does the art.

• The actor is also known for their role in “ House of the Dragon: Season 1/ Episode 6 ‘The Princess and the Queen .’”

Heather is Charlotte’s mom, who recently had a second child and is back to work, trying to deal with her mother’s mental decline and her aunt’s attitude. All while dealing with Ethan trying to build a connection with Charlotte, navigating her daughter thinking her father is in Thailand, and Charlotte being difficult just because she can.

• The actor is also known for their role in “ Look Away .”

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• Horror movies featuring popular fears

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Check out our movies page for our latest movie reviews and recommendations.

Charlotte Felt Like An Authentic Weird Kid

Weird kids in horror movies are expected as much as jump scares and things going silent before something happens. But, with kids, they can be very hit or miss. They become like Haley Joel Osment in his childhood horror films or one of the many you almost wish the killer would have gotten first – like Georgie in “ IT .”

As for Charlotte, you appreciate her because she is a weird kid in the best way. She draws cool comics, partly because her stepdad is an artist, and she looks up to him and while you can see her potentially being shown as this badass kid, they don’t allow the character to lose her humanity.

Charlotte is still someone who isn’t even a teenager yet, hanging onto the idea her biological father will come back, that her new younger sibling won’t replace her, and maybe her step-dad isn’t exploiting her ideas to make a career for himself.

Separate all the stuff with Charlotte’s pet spider, and you will see an interesting drama here.

Helga and Gunter Were Comical

With Helga and Gunter fitting Eastern European stereotypes, they play comic relief throughout the film. Helga is a kind, barely English-speaking woman who is slightly silly and lovable. Gunter? She is the cold European woman whose kindness is shown out of obligation.

But, despite Gunter being touted as a cheap slum lord, there are moments when she interacts with her sister Helga, drunk, or even with Charlotte, that can make you laugh. Are they funny enough to make this a horror and a comedy? No. However, Gunter and Helga do cause unexpected laughs.

On The Fence

Ethan and charlotte’s relationship.

The relationship between Ethan and Charlotte is, at times, a bit weird. You can see there is a level of closeness between them, but it’s also a horror movie. So as you watch him tuck her in, have her on his lap, and definitely take advantage of her creativity to boost his career, you are led to wonder if Ethan is being misjudged or if the film is building up to a reveal to make him potentially being killed justified.

It’s one of those things that makes you wonder if the spider will solely eat the bad people in the building who deserve to die.

Heather Was A Bit Of An Afterthought

Heather is Charlotte’s mother, Ethan’s partner, who you know exists, but doesn’t have much in character development. We know Charlotte’s father left her for unknown reasons, that she helps take care of her mother, Helga, and that she is employed in the kind of job that allows her to work from home.

But, as much as you can see Charlotte has a whole story that could exist without the horror element, Heather’s existence seemingly is only to boost Charlotte and barely be seen as a individual.

Background Information

Content Information

• Dialog: Cursing
• Violence: Violence Against Animals, Dismemberment, Blood
• Sexual Content: None
• Miscellaneous: Depiction of Corpses, Body Horror, Drinking

The post Sting (2024) Movie Review first appeared on Wherever I Look and is written by Amari Allah .

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Kingdom of the Planet of the Apes

Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for a... Read all Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike. Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.

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100 Best Movies on Netflix Ranked by Tomatometer (May 2024)

In our world of massive entertainment options, who’s got time to waste on the below-average? You’ve got a subscription, you’re ready for a marathon, and you want only the best movies no Netflix to watch. With thousands of choices on the platform, both original and acquired, we’ve found the 100 top Netflix movies with the highest Tomatometer scores! Time to get comfy on the couch!

New top movies this month: The Edge of Seventeen, Liar Liar, Shrek, Traffic.  Notably, L.A. Confidential is currently streaming, which recently topped our list of the 300 best movies of all time .

His House (2020) 100%

L.A. Confidential (1997) 99%

Miss Juneteenth (2020) 99%

The Forty-Year-Old Version (2020) 99%

Under the Shadow (2016) 99%

Ma Rainey's Black Bottom (2020) 97%

Dolemite Is My Name (2019) 97%

Hunt for the Wilderpeople (2016) 97%

Mudbound (2017) 97%

Paddington (2014) 97%

I Lost My Body (2019) 97%

Roma (2018) 96%

Atlantics (2019) 96%

Monty Python and the Holy Grail (1975) 96%

Life of Brian (1979) 96%

To All the Boys I've Loved Before (2018) 96%

Outside In (2017) 96%

The Irishman (2019) 95%

Marriage Story (2019) 95%

Spider-Man: Across the Spider-Verse (2023) 95%

It Follows (2014) 95%

They Cloned Tyrone (2023) 95%

The Sea Beast (2022) 95%

The Wonderful Story of Henry Sugar (2023) 95%

Klaus (2019) 95%

The Power of the Dog (2021) 94%

Moneyball (2011) 94%

The Lost Daughter (2021) 94%

X (2022) 94%

The Edge of Seventeen (2016) 94%

Emily the Criminal (2022) 94%

Private Life (2018) 94%

Traffic (2000) 93%

Hustle (2022) 93%

Enola Holmes 2 (2022) 93%

Cam (2018) 93%

Roald Dahl's Matilda the Musical (2022) 93%

Baby Driver (2017) 92%

Da 5 Bloods (2020) 92%

The Meyerowitz Stories (New and Selected) (2017) 92%

The White Tiger (2021) 92%

The Squid and the Whale (2005) 92%

Jurassic Park (1993) 92%

El Camino: A Breaking Bad Movie (2019) 91%

Devil in a Blue Dress (1995) 92%

Nimona (2023) 92%

The Little Prince (2015) 92%

Set It Up (2018) 92%

1922 (2017) 92%

Uncorked (2020) 92%

Glass Onion: A Knives Out Mystery (2022) 91%

Phantom Thread (2017) 91%

May December (2023) 91%

The Gift (2015) 91%

Beasts of No Nation (2015) 91%

Apollo 10 1/2: A Space Age Childhood (2022) 91%

High Flying Bird (2019) 91%

Happy as Lazzaro (2018) 91%

Gerald's Game (2017) 91%

You Are So Not Invited to My Bat Mitzvah (2023) 91%

Orion and the Dark (2024) 91%

The Willoughbys (2020) 91%

National Lampoon's Animal House (1978) 91%

The Imitation Game (2014) 90%

All Quiet on the Western Front (2022) 90%

Society of the Snow (2023) 90%

The Kindergarten Teacher (2018) 90%

On Body and Soul (2017) 90%

Bonnie and Clyde (1967) 90%

The Trial of the Chicago 7 (2020) 89%

The Big Short (2015) 89%

The Ballad of Buster Scruggs (2018) 89%

The Two Popes (2019) 89%

Amadeus (1984) 89%

Oxygen (2021) 89%

Always Be My Maybe (2019) 89%

Mary and The Witch's Flower (2017) 89%

I Don't Feel at Home in This World Anymore (2017) 89%

Paddleton (2019) 89%

Shrek (2001) 88%

Fear Street Part Three: 1666 (2021) 88%

I Am Mother (2019) 89%

Donnie Brasco (1997) 88%

Captain Underpants: The First Epic Movie (2017) 87%

Fear Street Part Two: 1978 (2021) 87%

My Father's Dragon (2022) 87%

The Breaker Upperers (2018) 87%

Vivo (2021) 86%

Lady Chatterley's Lover (2022) 86%

Munich: The Edge of War (2021) 86%

Kill Bill: Vol. 1 (2003) 85%

Fair Play (2023) 85%

The Wonder (2022) 85%

Shortcomings (2023) 85%

The Deepest Breath (2023) 85%

Hacksaw Ridge (2016) 84%

Waves (2019) 84%

Kill Bill: Vol. 2 (2004) 84%

The Matrix (1999) 83%

Liar Liar (1997) 83%

Fear Street Part One: 1994 (2021) 84%

Dumb Money (2023) 84%

The Swimmers (2022) 83%

Wendell & Wild (2022) 80%

Role Models (2008) 77%

Godzilla (2014) 76%

Dawn of the Dead (2004) 76%

Despicable Me 2 (2013) 75%

The Professional (1994) 74%

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