There are essentially three plotlines fighting for space in director Destin Daniel Cretton's Spider-Man: Brand New Day even though, given its generous 145-minute running length, you wouldn't think any in-fighting was necessary.

It's not that the characters can't talk. They just don't, or do without our being able to hear them, and that makes many of the goings-on here silly to the point of absurdity.

Christopher Nolan appears seriously invested in our enjoyment, and there are many, many sequences in this grandly scaled adventure as thrilling, juicy, and ticklish as any that 2026 has thus-far produced. Those demanding fidelity to Homer are likely gonna hate it.

Watching romantic relationships crack and crumble can be enormous, if nerve-racking, fun – just so long as those breakdowns are viewed from the perspective of an auditorium, and not a mirror.

It's hard to think of a more ticklish recent ode to cinema than Minions & Monsters, which would've been just about perfect if its monsters were ditched entirely.

Given how bored I've been at so many cinematic superhero origin stories over the decades, I feel silly for actually feeling and writing this. But I really wish director Craig Gillespie's Supergirl had merely been a superhero origin story.

Thirty-one years after the franchise's debut, Disney/Pixar's latest animated comedy adventure is unusual in at least one regard: It's the first Toy Story that might be more fun to think about, and argue about, than actually watch.

Steven Spielberg's Disclosure Day is many things:but most of all, it's an excellent self-test determining just how jaded you've become.

This past Thursday, after a full week of unseasonably hot, muggy weather, we were finally treated to an evening that was cool and breezy. I'm prone to credit the Clinton Area Showboat Theatre's Guys & Dolls for the atmospheric shift, because as season-opening presentations go, this one was as cool and breezy as they come.

There's no point in burying the lede on this: The Timber Lake Playhouse's Les Misérables is the most visually powerful, thunderously well-performed area production I've seen since my first published stage review debuted in 2005, and even since I first arrived in the Quad Cities for college in 1986.

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