The newest Falcone/McCarthy collaboration feels just like the others: disappointing.
The ambitious-as-hell, occasionally lovely superhero epic comes with a whole lot of baggage.
Gal Gadot remains great in the title role, but the sequel does too little, while doing too much, to match her.
Sam Raimi brought his camp sensibilities to Marvel’s friendly neighborhood Spider-Man, launching a bright new era for superhero filmmaking.
Despite attempts to recapture its magic, Sam Raimi’s second superhero entry remains the best in energy and empathy.
Years before Spider-Man, Sam Raimi delivered a fully original and fully entertaining superhero tale with his 1990 effort.
Disney+ tries to blend its love of princes and princesses with its new focus on superheroes, with mixed results.
Amazon’s anti-superhero show returns for a more assured sophomore run that gives its broad satire deeper character.
Netflix’s latest is a zany high-concept thriller that overcomes some ill-timed politics with well-staged action.
In 2005, Disney showed us what a superhero high school would look like — the results are fun, but they fall short of their deconstructive potential.
The second season of Netflix’s comic-book adaptation sends its fractured superhero family into the past, to mixed results.
Gina Prince-Bythewood’s nuanced, layered comic book actioner finds character among its expert choreography.
The black-sheep show of the DC Universe returns for a second season even more confident in its quirks.
Hanna-Barbera gives Scooby-Doo a superpowered reboot and loses most of its charm along the way.
The latest Marvel film to date is more than a mid-sized follow up to Avengers: Endgame — it establishes Peter Parker as the beating heart of the new MCU.
Taika Waititi’s irreverent revamp of the Thor series, Thor: Ragnarok, manages to weave some much-needed criticism of imperialism among the gags.
The culmination of Marvel’s 11-year gameplan is a cinematic juggling act whose success is an unlikely achievement.
Ryan Coogler’s superhero film not only salvages the colonialist origins of the comic’s imagery, it reclaims them for a Black audience.