For a film that deserves to be seen on the biggest screen and in the best format possible—IMAX, 70mm, some combination thereof—Christopher Nolan’s Dunkirk is often at its best and most terrifying when we are trapped in close confines alongside the young men fleeing the Nazi onslaught: When we are below decks as a torpedo hits a destroyer filled with troops; when we are confronted with a shell-shocked soldier on a civilian ship who refuses to go below deck; when we are trapped inside a cockpit filling with water as the pilot struggles to open its jammed door.
The first three scenes of Valerian and the City of a Thousand Planets pretty neatly represent the good, the sad, and the ugly of Luc Besson’s nearly two-and-a-half hour opus, meaning that you should have a sense of whether or not this is the movie for you within the first half hour of its running time.
Spider-Man: Homecoming is immensely entertaining: Laugh-out-loud funny with workmanlike action sequences and winning performances from a group of top tier actors, Spidey’s move to the Marvel Cinematic Universe will undoubtedly be embraced by audiences just as it has been embraced by critics. Go see it. It’s great fun. You’ll love it.
Of the 20 highest-grossing films released through the first half of 2017, just one—February’s Get Out—is a wholly original project. The rest are sequels (Guardians of the Galaxy Vol. 2, Cars 3) or exercises in franchise-extending universe building (Wonder Woman, Kong: Skull Island) or remakes (Beauty and the Beast) or reboots (Power Rangers) or adaptations of popular books (The Boss Baby, Captain Underpants) or some unholy amalgamation of several of the preceding categories (The Mummy).
The Mummy isn’t a movie so much as pre-packaged movie-like substance, an unholy combination of fading star power, intellectual property of questionable value, and studio desire to create a perpetual-motion movie machine in the form of a franchise that will appeal to people around the world for decades to come.
After a rough patch in theaters for DC—a stretch that included the abominably stupid and poorly plotted Suicide Squad and the unfortunately bowdlerized Batman v Superman: Dawn of Justice, the director’s cut of which is far superior—Wonder Woman suggests that Warner Brothers may be getting things back on track.