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"Spider-Man: Turn Off the Dark" turned the lights on its revised production Thursday evening, adding some signature touches from the Spidey comic books and films, such as the use of one of the tale's legendary lines—"with great power comes great responsibility"—and one of its most striking moves, the upside-down kiss between the superhero and his lady love.

'Spider-Man: Turn Off the Dark' Spins New Web Erica Orden 2011

He continues to prod the original tale's questions of creation and death, but does so at a modern pace.

The Casebook of Victor Frankenstein: Summary and book reviews of The Casebook of Victor Frankenstein by Peter Ackroyd. 2009

With the tale's outcome utterly unforeseeable even as it races along, "Don't Breathe a Word" leaves you breathless.

Far-Flung Secret Ops, Shadowy Local Conspiracies Tom Nolan 2011

The picture starts near the tale's conclusion, with the general a shell of his former self, so the shock is extreme when we see him restored to vigor in the flashbacks that constitute most of the film.

Master of the Mise-en-Scène David Mermelstein 2011

As Nancy L. Segal relates in "Someone Else's Twin," her fascinating account of the switched-at-birth misstep and the painful family and legal entanglements that followed much later, an unexpected encounter in a clothing store was the tale's turning point.

Separated At Birth. Really. David Cesarini 2011

And once you get past the tale's elegant mise en scene and sensuous atmosphere, don't be surprised to discover Leigh has posed some intriguing questions on love, death, and all the impulses that drive our species.

Dan Persons: Mighty Movie Podcast: Julia Leigh on Sleeping Beauty Dan Persons 2011

Director Nelson keeps the tale's emotional colors gracefully shifting, and she connects scenes with fluid segues -- like the way a chuckle of Miss Edna's mingles with, and then cedes to, a warm laugh by Lonnie's father.

Theater review of 'Locomotion' at the Kennedy Center Family Theater Celia Wren 2010

And the number of ghosts exceeds the traditional "Richard III" allotment; as the tale's murder count swells, the victims often reappear on designer Tobias Harding's stark cement-gray set, red netting over their faces signaling their spectral status.

Washington Shakespeare Company's haunted 'Richard III' isn't haunting enough Celia Wren 2010

The handcuffed hero's increasingly desperate maneuvers as he makes his way through the nightmarish crannies of Franz Joseph's Vienna take on the quality of an Expressionist chase movie, and in true Perutzian fashion there is a neatly devastating reversal in the tale's final paragraphs.

International Crime Fiction Geoffrey O'Brien 2010

To increase the tale's credibility, the crew and captain decide, another layer should be added about someone jumping in to try to save the man—and suffering a shark bite in the process.

A Parallel World Above the 38th 2012