Spider-Man: Far From Home

Cast: Tom Holland, Samuel L. Jackson, Zendaya, Cobie Smulders, Jon Favreau, J.B. Smoove, Jacob Batalon, Martin Starr, Marisa Tomei, Jake Gyllenhaal

Director: Jon Watts

Writers: Chris McKenna, Erik Sommers


Following the cataclysmic, seismic events of Avengers: Endgame, Spider-Man: Far From Home offers a similar kind of respite as Ant-Man and the Wasp did after Infinity War. In the aftermath of Thanos’ apocalyptic crusade and the critical feats and sacrifices it took to defeat him, the biggest thing worrying our friendly neighbourhood Spider-Man (Tom Holland) is how to tell the girl he’s crushing on that he likes her. Once again directed by Jon Watts, this latest instalment in the Marvel Cinematic Universe follows the example of Homecoming by placing its main focus on the coming-of-age aspects of the Spider-Man story and reining things back a bit. The action is on a smaller scale than whatever Thor or Captain Marvel are wont to get up to and the tone falls more in line with a teen comedy than it does a sci-fi/fantasy epic. While there are still hard lessons about power and responsibility to be learnt, there is plenty of relief to be found in Far From Home in the form of light-hearted comedy, an upbeat soundtrack and adolescent romance. The movie is also the start of a new era for the MCU (one that Spider-Man may not even end up being a part of, but that’s another story) as it grapples with Tony Stark’s legacy and what the future holds for Peter Parker.

Following the five-year period during which half of the world’s population had been snapped out of existence, referred to in this film as ‘The Blip’, Peter Parker is back at school and things are starting to return to normal. The shadow of Tony Stark looms large in this post-Thanos world and there is a question of who will step in to fill the void his death has left, but that’s not a question Peter is ready to face just yet as he continues to mourn the loss of his mentor and father figure. For now he’s back on the streets beating up small-time thugs, Aunt May (Marisa Tomei) is taking the revelation of his double life well, and he’s about to go on a trip to Europe with his friends Ned (Jacob Batalon) and MJ (Zendaya). Having recently grown rather smitten with MJ, this is the chance he’s been waiting for to tell her how he feels and he is determined not to let anything get in his way, even opting to leave his Spider Suit behind (which Aunt May cordially packs for him anyway). All he wants for the next few days is to be a normal teenager, hang out with his friends, and take a break from being a superhero for a while. But, as the saying goes, when people make plans, Yahweh laughs.

Peter’s vacation is threatened by the sudden arrival of these monstrous forces known as the Elementals. They strike without warning and leave a great trail of destruction in their wake and the only person who knows anything about them is Quentin Beck (Jake Gyllenhaal). Beck, also known as Mysterio, is a superhero from another dimension who has followed the Elementals into this realm to stop them before they reduce it to the ruin that his own world has become. This quest has led him to Nick Fury (Samuel L. Jackson), who is now trying to enlist Spider-Man to help them save the world from total carnage. When Peter ignores his call and proceeds with his holiday, Fury relocates the entire operation to Europe, hijacks the school’s trip, and presses onto the young webslinger that ‘no’ is not an option for him. The action takes Peter from Venice to Prague to London and as he works with Beck to battle these supernatural entities, the effort to keep his two lives separate grows all the more hectic and desperate. As things come to a head and grow more and more out of his control, Peter must finally decide what really matters to him and whether he truly is ready to assume Stark’s mantle as the hero that the world needs.

In this movie Peter is a young man on the cusp of adulthood and the main focus is on his growth and the impossible expectations he must somehow live up to as defined by the example set by Tony Stark. I’ve always been a little ambivalent about how largely this latest characterisation of Spider-Man revolves around Iron Man; to me it’s just more compelling for Peter to be out there all on his own driven only by the memory of a beloved family member whose death he is partly responsible for than to be adopted by this benevolent billionaire godfather who gifts him with all of these high-tech gadgets and handy short cuts. Whether Uncle Ben exists in this universe has yet to be confirmed however so Stark is the best that Marvel’s got and the movie makes good use of the connection between them (especially considering that Robert Downey Jr. never makes an appearance save in archive footage). There is a void in Peter’s life and he is searching for someone to show him the way forward. With Nick Fury impatiently pushing him to just grow up already and Happy Hogan (Jon Favreau) getting uncomfortably close to May, Peter ends up confiding in the supportive and compassionate Beck, whom Gyllenhaal plays with chameleonic charm and magnetism.

While I think the jury is still out on where Holland ranks compared to Maguire and Garfield in the Spider-Man hierarchy, he remains my favourite Peter Parker, which is a strength in a film that has him undergo an identity crisis as his double life threatens to unravel around him. There’s an endearing sense of sincerity and earnestness to his take on the hapless hero, as if his compulsion to be just, decent and good was less of a choice on his part and more because he simply doesn’t know how else to be. He’s also immature enough that there’s still ample room for him to learn and grow, especially as his immaturity leads him to make mistakes that place himself and others in danger (as in one scene where he accidentally makes his rival for MJ’s affections the target of a military drone). Holland is once again on full form with the hyperactive charm he’s brought to all of his previous appearances in the MCU (while this is his second solo outing, it’s the fifth movie overall in which he has played Spidey) and continues to sell the idea of Peter as a frantic underdog who is only barely managing to keep his head above water. The text doesn’t always support that depiction (he is wearing a Stark-designed robo-spider suit after all) but the performance cannot be faulted.

While the action is constructed on a slightly more restrained scale that the other MCU entries, Watts still manages to bring the thrills by making inventive use of the character and the foes he must battle. There’s one particular sequence at the end that impresses in how it employs the hero’s Spider-Sense (called the Peter Tingle in this film) when all his other powers and senses fail him. There are also some wonderfully trippy scenes throughout akin to those in Doctor Strange that add the exact touch of surrealism you would want in a film featuring a character like Mysterio. The hallucinogenic quality of these scenes work so well at tapping into Peter’s vulnerability and highlighting the fish-out-of-water nature of his arc that it feels like the story could have been told with greater emotional focus had they opted to set the movie in Peter’s native Queens. Obviously I get that the title Far From Home is supposed to apply on both a literal and metaphorical level but the European segments felt rather redundant to me in a movie that has a lot going for it at its emotional core. I have no doubt that the commercial Disney has made for European tourism will work its magic on international viewers, but I don’t see any narrative reason why the movie couldn’t have told a more focused and personal version of this story set in New York.

The best thing the movie has going for it is that it is such effortless fun to watch. Holland continues to helm the franchise as an appealing lead and the chemistry he shares with his co-stars, particularly Gyllenhaal and Zendaya, makes the film all the more watchable. By moving the action to Europe and turning the spectacle up a notch they did lose a little of that down-to-earth, John-Hughes-ish teenage spirit that made Homecoming such a delight, but since this is a film about growth that may not necessarily be a bad thing. It remains a fun light-hearted adventure, there are plenty of laughs to be had (if only from Ned’s fleeting but sweet fling with Betty Brant (Angourie Rice)) and there’s a certain warmth to the film that’s not really there in any of the other Marvel titles. The movie is hardly the equal of Raimi’s Spider-Man 2 or last year’s Into the Spider-Verse, but it’s almost unfair to make the comparison when viewing these MCU films as the simple and pleasing B-stories that they’re supposed to be. Far From Home is a pleasant and enjoyable film that’s thoroughly gratifying to watch and it really doesn’t need to be much more than that. It also has the best mid-credits scene in any MCU movie thus far, so there’s that.

★★★★

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Avengers: Infinity War

Cast: Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlatt Johansson, Benedict Cumberbatch, Don Cheadle, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Sebastian Stan, Danai Gurira, Letitia Wright, Dave Bautista, Zoe Saldana, Chris Pratt, Josh Brolin

Directors: Anthony Russo, Joe Russo

Writers: Christopher Markus, Stephen McFeely


There’s a certain narrative that studios like to spin when a high-profile movie, oftentimes a comic book blockbuster, underperforms. If the movie in question has taken a beating in the critical consensus, studios like to dismiss the validity of the criticism by claiming that they “made it for the fans”. This is a garbage argument; not only is it an attempt by Hollywood to fabricate a divide between critics and fans to ensure that they aren’t held accountable for making mediocre movies that fail to resonate with audiences, it makes no sense from a purely economic perspective. It falsely suggests that the studio has no interest in pulling a larger crowd from beyond the core fanbase and maximising their profits. This is one of the reasons why I find Infinity War to be such an interesting case in the evolution of the blockbuster, because I think it is the exception that proves the rule. After their ten year campaign to build as large and inclusive a fanbase as possible, the MCU have released a title that appeals directly to them and that only works if you’ve seen and enjoyed all (well… most) of the eighteen films that came before. This is truly a movie that was made for the fans.

Therefore, even though I’ve criticised some of the Marvel movies in the past for neglecting to tell entirely self-contained stories, I don’t think it’s fair to hold this film to the same standard. Infinity War is a crossover event of unprecedented proportions; it is the culmination of all that the Marvel Cinematic Universe has built in the last decade and it fuses all of their flagship characters into a single narrative. There is so much to bring together and so much happening in this movie that expecting it to slow down for those who have not watched the preceding titles in order to bring them up to speed on all the characters and their histories strikes me as ludicrous a notion as it would be for Harry Potter and the Deathly Hallows or Game of Thrones Season Eight. Eighteen movies is a big ask for anyone who isn’t a fan of the franchise and that’s why I don’t think the studio was under any illusion that they were making this movie for anybody outside of the fanbase, which by this point has grown large enough to justify an investment on this scale. For those non-fans who feel that they must see this film all the same, I honestly don’t know what they expect to get out of it. Infinity War is a film that knows exactly who it was made for and for them it’s going to work very well indeed.

The film is 160 minutes long and it hits the ground running. There is so much action condensed in the runtime and so many big moments throughout that pretty much every detail feels like a potential spoiler. On the broadest possible level, the plot is about the intergalactic tyrant Thanos (Josh Brolin) in his quest to collect the six Infinity Stones with his gauntlet. Only when he’s acquired all six will he be able to realise his goal of wiping out half of the universe’s populace, his solution to the problem of galactic depletion and imbalance. Standing in his way are the Avengers, led by Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Black Widow (Scarlett Johansson), and Hulk (Mark Ruffalo). Helping them along the way are such previous allies and adversaries as Black Panther (Chadwick Boseman), Loki (Tom Hiddleston) and Spider-Man (Tom Holland), and such newcomers as Dr. Strange (Benedict Cumberbatch) and the Guardians of the Galaxy as led by Star Lord (Chris Pratt) and Gamora (Zoe Saldana). What follows is an epic and devastating conflict, an earth-shattering spectacle on the scale of an opera or a Greek tragedy. Worlds are destroyed, lives are ruined, tears are shed, and heroes are killed.

The film wisely makes Thanos, the one major character who has not received any substantial character development in any of the previous films, its main focus. We follow him on his apocalyptic journey across the galaxy and, in large part due to Brolin’s remarkably forceful yet quiet performance, we learn to both fear and yet pity him in what he sees as a calling rather than a desire. Unlike the Joker and most other comic book villains who absolutely relish their evilness, Thanos is more like Anton Chigurh in No Country for Old Men. He isn’t evil because he wants to be or was made to be but because he feels like that he has to be, as if he cannot see any other way and has resigned himself. He has the devotion and conviction of a religious zealot but also the calm and solemnity of a disciplined military leader. He attends to his mission with ruthless single-mindedness; he has no interest in trying to convince or bargain with anyone, what he must do is simply what has to happen and he will destroy all who stand in his way without a second thought. You hate him because of how merciless and cruel he is but there’s an air of inconsolable loneliness and trepidation about him that Brolin conveys superbly without overplaying. His strength and powers are absolute and there is no doubting that he is the biblical reckoning that many of the characters have been dreading all this time.

The inevitable downside of featuring an ensemble this large in a narrative that is somewhat constricted by the limitations of linear cause-and-effect storytelling is that there’s only so much screen time and dialogue it can dole out between the dozens of characters that it must juggle. Some of this is compensated by the fact that we’ve already seen these characters in their stories and can immediately identify them, so most of them can more or less get straight down to business. Homecoming has already established the mentor/trainee relationship between Tony Stark and Peter Parker, the Thor movies have already laid the groundwork for Thor’s PTSD, and Guardians of the Galaxy has already made clear to us Gamora’s and Nebula’s (Karen Gillan) history with Thanos. However there are other characters and plot threads that must take a backseat in order to make room for these stories. Steve Rogers gets a couple dozen lines, Natasha Romanoff and Bruce Banner, who had a romance in Age of Ultron, barely get a meaningful exchange, and there are some rather important characters such as Bucky Barnes (Sebastian Stan), Mantis (Pom Klementieff), Sam Wilson (Anthony Mackie) and Shuri (Letitia Wright) who could almost be considered glorified extras.

One of the pleasures of the crossover though is that we do get to see some great mixing and matching between the characters without pre-existing relationships. The combination of the ultra masculine Thor and the insecure Peter Quill allows for an amusing back-and-forth and Thor also gets to bond with Rocket (Bradley Cooper) with whom he shares more in common than you might think. Stark and Strange are acquainted and find that their identically obnoxious personalities clash, there’s a surprise appearance by the villain of a previous film who makes for an interesting contrast with Thanos, and there are some brief exchanges during the climatic battle that make for some great laughs. However I do wish the Russo Brothers had made more of an effort to combine the heroes’ differing abilities and styles in the action scenes the way they did so well in Civil War. Apart from one moment where Natasha, Okoye (Danai Gurira) and Scarlet Witch (Elizabeth Olsen) work together to take down a foe and another where a plan to subdue Thanos almost works, I can’t remember any other notable instances of a character combination leading to an action set-piece that would not be possible in any other MCU film. Instead it mostly comes to down to individual heroes doing their own solo stuff in turn.

On that note, the action doesn’t really feel all that distinctive from what we’ve seen in other movies, especially not after Thor: Ragnarok and Black Panther which were both made by directors with such distinct personalities and styles. Here it’s mostly shaky camerawork and quick-fire editing just like in any other blockbuster while the less action-packed scenes are framed rather generically with hardly any risky moves or striking flourishes to help the most impactful moments hit that little bit harder. There are some moments that stand out such as a wipe that cleverly reveals a scene to be an illusion conjured by Thanos and the use of slow motion during the climax to highlight the Avengers’ last-ditch desperation, but the filmmaking mostly feels routine and by-the-numbers. The most notable exception though is the ending which delivers a gut-punch with the exact right amount of shock and severity to catch you off guard even if you know intellectually in your head that what’s happening cannot possibly be permanent or irreversible (as tends to be the case with most cliffhangers). It’s a move that goes a step further than The Empire Strikes Back by not offering you that glimmer of hope at the end to leave you feeling elated and optimistic. Han is frozen in carbonite, Luke learns that the bad guy is his father and has his hand cut off, Vader is triumphant, cut to black. All you’re left with is that feeling of desolation and failure.

For most fans of Marvel, Infinity War is exactly what they want it to be. It brings together all the iconic characters they’ve grown to love (sans a couple whose absences are quickly explained in a throwaway sentence), pits them against the single greatest foe that any of them have ever faced, and delivers some good action, comedy, and surprises along the way. It’s not perfect and it’s not the most creative, clever, or compelling movie they’ve ever made, but it delivers. For me what really makes this film stand out among its predecessors is the combination of Thanos’ arc with Josh Brolin’s performance. He took a villain who has been built up big time despite his previous underwhelming appearances and added so much terror and humanity (aided by the best use of CGI on a character since Gollum) that you cannot help but be swept away by his crusade. Even though you can probably more or less predict how the story will progress, there’s still that agonising sense of dread gnawing away at you with each step that brings Thanos closer to bringing his plan to fruition. He’s the rare type of villain who is at his most intimidating when quiet and who demonstrates an unexpected capacity for respect and empathy when battling his enemies. He’s the one it’s all been leading to and he was worth the wait.

★★★★

Spider-Man: Homecoming

Cast: Tom Holland, Michael Keaton, Jon Favreau, Zendaya, Donald Glover, Tyne Daly, Marisa Tomei, Robert Downey Jr.

Director: Jon Watts

Writers: Jonathan Goldstein, John Francis Daley, Jon Watts, Christopher Ford, Chris McKenna, Erik Sommers


This movie is a big deal for Marvel. For decades Spider-Man has been the comic book company’s flagship character; he is to Marvel what Superman is to DC. After two movie franchises in a little over a decade, one that became too silly for its own good and one that crashed under the weight of all the characters and stories it was trying to juggle, Sony has finally made a deal with Marvel to bring Spider-Man into the MCU. After a wonderfully received debut by Tom Holland in Civil War, Homecoming now marks the character’s third cinematic introduction a mere fifteen years after his first. It’s a bit different this time because Peter Parker is now a part of a larger world, one where the idea of the superhero has already been well established and where the world has already been threatened by gods, aliens, an artificial intelligence, sorcerers, and a guy with energy whips. Thus, to focus more on the themes of growing up and taking responsibility, Homecoming scales back on the epic fantasy and instead gives us a high school movie with superheroes.

After being drafted by Tony Stark (Robert Downey Jr.) to fight for the Avengers, Peter Parker (Tom Holland) is told that he’s not ready yet to join the superhero team and is sent back to school to focus on his studies. In the meantime Stark encourages Peter to be more of “a friendly neighbourhood Spider-Man” and assigns Happy Hogan (Jon Favreau) to look after him. Peter however struggles to balance his school life with his crime-fighting life. His best friend Ned (Jacob Batalon) keeps pestering him about his ‘Stark Internship’, his decathlon team, led by Peter’s crush Liz (Laura Harrier), is getting frustrated with his inability to commit to the upcoming championship, and even his Aunt May (Marisa Tomei) must be kept in the dark about his alter-ego. Meanwhile Adrian Toomes (Michael Keaton), a salvager who was driven out of business years ago by Stark Industries, has gone into the arms trafficking business, dealing weapons based on Chitauri technology recovered from the Battle of New York in The Avengers. When he learns of Toomes’ activities, it falls onto Spider-Man to stop whatever it is he has planned.

Holland plays a much younger Peter Parker than either Maguire of Garfield ever played and his youth plays a prominent role. Spider-Man’s arc as a character has always been that he’s a young man learning to grow up and take responsibility, which is exactly what makes him so identifiable and relatable, especially to teenagers. In Homecoming his youth is emphasised in order to set him apart from the Avengers, most notably Tony Stark, who are pros at being superheroes and who understand the dangers and responsibilities of the job far better than Peter does. Although Peter is smart, talented and well intentioned, he’s also just a kid and he possesses all of the liabilities of youth. He is cocky, naïve and is in way over his head. Spider-Man has never just been a superhero fantasy, it is at its core a coming of age story and this movie embraces that by drawing inspiration from the filmography of John Hughes (which is good, but a little on the nose in one scene referencing Ferris Bueller’s Day Off). Angst, awkwardness and adolescence all come in abundance and the movie does a great job of showcasing those sides of Peter Parker.

The superhero side is also very good, but there is a slight disconnection there. The one thing I never really got from this incarnation of Spider-Man was a sense of what was driving him, a motivation. It’s hinted at in his first scene in Civil War but in this movie it is never elaborated in any meaningful way. Now, I’ve seen the other movies, I’ve read the comics, and I’ve watched some of the cartoon. I know full well what Spider-Man’s motivation is. The problem is that this movie throws us straight in without giving us some kind of foundation on which we can plant our feet. Uncle Ben, the lessons he taught Peter, and the role Peter may or may not have played in his death, we have no idea how relevant these are to this version of Spider-Man because they are never addressed. There is something of a stigma these days against superhero origin stories and not for no reason (we have after all seen two Spider-Man origin movies within ten years of each). I’m not saying that Homecoming had to be origin movie, but the crucial details of the backstory that fundamentally make Peter who he is do have to be addressed, even if it’s only in a couple of sentences. Leaving that out is bad storytelling.

Homecoming however is far from a bad movie. It is engaging, funny, thrilling and just delightful. Not only is Holland terrific as Spider-Man, he is hands down the best Peter Parker in any of the movies. His Peter is nerdy and awkward enough to make him a believable social outcast but also charming and eccentric enough to be likeable. Keaton as the Vulture is spot on and for me is easily the second best villain in the whole MCU after Loki. He is menacing, but also entertaining; villainous, but understandable. In addition, there is a twist with the villain (because there always are these days) that works incredibly well, bringing the conflict between him and Spider-Man to an entirely higher level. There are a couple of action scenes that don’t quite work, such as the climatic fight that takes place almost completely in the dark, but the ones that do work really well. As well as being his usual acrobatic self, this Spider-Man also makes effective use of the gadgets at his disposal such as his iconic web-slingers and a ton of other goodies provided by Stark’s suit. It’s not the best Spider-Man movie ever made but there is a lot to enjoy and a lot to be excited about going forward.

★★★★