There’s No Way That Spider-Man: No Way Home Hits Home
It's chock full of dream-come-true moments for Spidey fans, but its lack of substance reeks of a self-indulgence that is rare even in fan fiction

As a young actor František Lukávec and his teacher Vladimir Tuma became enemies. František insisted that Tuma was dismissed from the school as a reactionary and hostile to the new government. Many years passed, and here they met again on the stage of a theater. František is assigned the role of Julius Fucik, Tuma plays the role of a Gestapo man in the same play. In the course of the action, the Gestapo man beats Fucik. Taking advantage of this opportunity, Tuma beats up his old enemy during the dress rehearsal. Frantisek's face is bleeding, but he will still play. The rehearsal continues...
It's chock full of dream-come-true moments for Spidey fans, but its lack of substance reeks of a self-indulgence that is rare even in fan fiction
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
I hate the idea that animation’s for kids; just because it’s animated doesn’t mean that it’s some silly cartoon and shouldn’t be taken seriously.