Late in Roy Andresson’s About Endlessness a man in a cafe watches in awe as snow falls gently outside a cafe window. A soft choral rendition of “Silent Night” accompanies the snowflakes, but no one seems to notice. He interrupts his fellow patrons’ quiet indifference to ask “Isn’t it fantastic?” To their quizzical responses he clarifies, “Everything”. Its as close a thesis statement as you’re going to get from this poetic contemplation of the mundane and profound that unfolds in dozens of short vignettes over seventy-four minutes.

A.J. Finn’s The Woman in the Window was a literary hit in 2018, one of those page-turners in the mold of the Girl on the Train and Gone Girl with unreliable narration and suspenseful twists. I never read it, but got the sense that a decent share of its sales were hate-readers who threw their copies of the book at the wall in frustration when certain plot points were revealed. After a long time in pandemic release purgatory, Joe Wright’s film adaptation finally drops this weekend. The main selling point is that you can find out what the love/hate for the novel was all about in the span of less than two hours instead of 448 pages.

Having previously transformed Jim from The Office into a globe-trotting action hero, Amazon Studios has now turned their attention to a much easier lift: expanding their Clancyverse to include Michael B. Jordan as a score-settling former Navy SEAL John Clark.

There comes a time in every Spider-Boy’s life when he must hang up his Spidey suit and go off to war, become addicted to opioids, rob a bunch of banks, and fly off to have adventures in space to establish himself as a credible grown adult actor who can do so much more, as if being the far and away best friendly neighborhood web-slinger in Marvel’s history wasn’t enough. Alas, this spring has been that time for young Tom Holland, who did all of those things in two not that good spring releases.