Peter Parker might be forgiven for craving a vacation as “Spider-Man: Far From Home” begins. After an emotional and strenuous last few movies with the Avengers, a break sounds nice. “I didn’t think I had to save the world this summer,” he complains.

Jack Malik (Himesh Patel) is a soulful if brooding young man, with a very pleasant singing voice. But when we meet him, the fledgling songwriter and supermarket clerk from coastal England feels stuck in the middle of a hard day’s night. If he doesn’t get any help soon, he’ll end up a real nowhere man.

What a spell for sentient toys. A week after the child-crafted plaything Forky found life in “Toy Story 4” and Chucky was reborn in “Child’s Play,” the evil vintage doll of the “Conjuring” spinoff series “Annabelle” is back, too, in “Annabelle Comes Home.” Surely, a tea party must be in the offing.

Whatever you say about Dexter Fletcher’s glossy, glittering Elton John blinged-out biopic ”Rocketman,” a shiny sequin of a movie, it doesn’t lack for sparkle. Like its flamboyant subject, it’s a movie outfitted to the nines in dazzle and verve, even if it’s gotten all dressed up with nowhere to go but the most conventional places.

Actor Leslie Jordan said “Exposed,” the one-man show he presents May 31 at the Waco Hippodrome, isn’t stand-up comedy as much as the Southern storytelling with which he grew up.

Based on Laura Moriarty’s best-selling 2012 novel, “The Chaperone” fictionalizes an episode in the life of silent movie star Louise Brooks. Yet the intermittently effective drama that unfolds is as much about the contrast between the 1920s and 2019 as it is about the relationship between Brooks and her minder.

By virtue of its marketing campaign (and, um, its name), the film ‘Tolkien” suggests that it is a portrait of the formative years of J.R.R. Tolkien, the English author of “The Hobbit” and “The Lord of the Rings.” And while it certainly is a literary coming-of-age story — Nicholas Hoult plays the young J.R.R., or Ronald, as a young man, with Harry Gilby covering his teenage years — it is also very much a movie about three other young men, or at least Tolkien’s relationship to them.

Of the many ways for a child to almost die, being submerged in frigid water is one of the more survivable. The body conserves heat for the vital organs, and the cold slows oxygen depletion in the brain.

Waco’s Deep In The Heart Film Festival kicks off Thursday at the Waco Hippodrome, with three nights and slightly more than two days’ worth of movies long and short that display fresh energy, creativity within limited resources and a love for film-making.

The Deep in the Heart Film Festival proceeds from second-year sequel to third-year series next weekend, returning to the Waco Hippodrome with a slate of seven feature films, more than 100 shorts and panel discussions aimed at would-be filmmakers.

One of filmmaking’s cheapest tricks is on-screen applause — where characters clap to cue the movie’s viewers that they should also be impressed. There’s a lot of that in “Apollo 11,” but it’s not cheap. In this documentary about the people who pulled off the spectacular feat of sending Neil Armstrong, Buzz Aldrin and Michael Collins to the moon in 1969, the ovations are genuine, spontaneous and well deserved.

In “What Men Want,” Taraji P. Henson gains the ability to hear men’s unspoken thoughts after she (1) accidentally drinks drug-laced tea; (2) dances to 2 Live Crew’s “Hoochie Mama” during a friend’s bachelorette party; (3) is knocked over by an inflatable penis; and (4) is slammed into a nightclub stage.

Creepy children are a mainstay of the horror genre. Going back to “The Bad Seed” and beyond, children have proved capable of unnerving audiences with a combination of precocious dialogue and psychopathic behavior.

No, “Free Solo” isn’t the latest “Star Wars” installment. Upon reflection, however, fans of that franchise should make sure to see this riveting film, if only to experience action and derring-do at its most high-stakes, awe-inspiring and jaw-droppingly true.

In “The Favourite,” a deliciously diabolical comedy of ill manners and outré palace intrigue, Olivia Colman plays Queen Anne, who in the 18th century ruled Great Britain while suffering through 17 ill-fated pregnancies, severe illness and not un-consequential wars with Spain and France.

The title of “Green Book” derives from a period when African-Americans often traveled at their own risk, especially in the Jim Crow South. Unwelcome in many restaurants, hotels and other public establishments, they even faced death in “sundown” towns, where they were warned to get out before evening, or else.

If 2018 will be remembered for anything, it will be for well-executed blockbusters: From “Black Panther” and “Crazy Rich Asians” to “Mission: Impossible — Fallout” and “Halloween,” audiences were treated to exceptionally smart, technically proficient, visually rich exercises in action, romance, horror and other genres whose mass appeal usually makes them immune to questions of sophistication and aesthetic taste.

The following movies are showing at first-run theaters Regal Jewel 16 (RJ16), AMC Classic Galaxy 16 (CG16) and the Waco Hippodrome (WH). Letter grades for movies are from advance reviews; an NR means a movie was not reviewed.

Two indie films with Texas connections make their debut in Waco screenings this week although independent and Texas are their main common threads. Well, both are also free.

I know what you’re thinking: “Bah! Humbug!” Can a Christmas movie that’s being released in November, well before Thanksgiving, be any good? It just so happens that the new animated version of the Dr. Seuss classic “How the Grinch Stole Christmas” is a welcome, if early, Christmas gift. You’d have to be a Scrooge to resist it.

It’s easy to see why someone would want to make a movie about Ricky Wershe Jr. His life story, the inspiration for the new, fact-based crime drama “White Boy Rick,” has it all: drugs, sex and gunrunning, plus a main character whose neck-deep involvement in all those activities — while still a teenager — is both shocking and appealingly guileless.

“God Bless the Broken Road,” named for a song made famous by Rascal Flatts, is a well-meaning, competently made faith-based drama. But good intentions and a diverse cast aren’t enough to spread the gospel beyond moviegoers already invested in God (and country music and NASCAR). And it’s unfortunate that the tribute to veterans that is so much a part of the movie’s marketing turns out to be little more than a framing device that’s dispensed with for most of the plot.

Despite a similar title, “Christopher Robin” is in no way to be confused with “Goodbye Christopher Robin,” last fall’s soberly fact-based drama about the relationship between “Winnie-the-Pooh” author A.A. Milne and his son. (Christopher Robin Milne, as you may remember, was the inspiration for the famous stuffed bear’s human companion, a small British boy called Christopher Robin.)

“The Rider,” a marvelous film by Chloé Zhao, tells the story of rodeo horseman Brady Blackburn, who, after suffering a near-fatal head injury after being stepped on by a bucking bronco, must find his place within a world where the phrase “ride or die” takes on real, high-stakes meaning.

When Melissa McCarthy, as the newly divorced, 40-something mom Deanna in “Life of the Party,” decides to re-enroll in college, my seatmate at a recent screening turned to me with a question about McCarthy’s choice of major: “What the heck is she going to do with a degree in archaeology?”

Viewers may be forgiven for being confused by Wes Anderson’s movies. Constructed with dollhouse fastidiousness, their hyper-symmetrical, squared-off tableaus dressed with gorgeous textures and color palettes — and their clipped dialogue delivered with deadpan sincerity — they depict a universe with only glancing resemblance to the real world.

“Paul, Apostle of Christ” comes from Sony Pictures Entertainment’s Affirm label, an offshoot that has produced such Christian-themed dramas as “Heaven is for Real,” “Soul Surfer” and “Risen.” Less interested in blunt proselytizing than more open-ended explorations of faith and its challenges, Affirm films have gratifyingly avoided the kind of pietistic Sunday-school pageantry that characterizes so many motion pictures of the genre.

The first feature from writer-director Cory Finley, “Thoroughbreds” is a darkly comic tale — shot through with the hard-boiled fatalism of film noir — about two teenage girls in an affluent Connecticut suburb of New York.

With its title tongue-in-cheekily evoking “I, Claudius,” another epic tale of madness and debauchery, the dramatic comedy “I, Tonya” revisits — with verve, intelligence, scathing humor and more than a touch of sadness — the bizarre 1994 attack on figure skater Nancy Kerrigan, by goons associated with the camp of Kerrigan’s athletic rival, Tonya Harding.

The following movies are showing at first-run theaters Regal Jewel 16 (RJ16), AMC Classic Galaxy 16 (CG16) and the Waco Hippodrome (WH). Letter grades for movies are from advance reviews; an NR means a movie was not reviewed.

Less a movie than a conjuring, “The Shape of Water” plunges viewers into a mossy, aquamarine world of dreams and taboo desires, its contours as a wistful fable adjusted more than slightly for very real, present-day concerns.