‘Spider-Man: Far from Home’ is a Fun Ride, and it May Be the Web Slinger’s Last in the MCU

Spider Man Far From Home Theatrical Poster

So, after a summer filled with an endless need to make ends meet, I finally got the chance to check out “Spider-Man: Far from Home.” Watching it at this point proves to be bittersweet as this may be the character’s last time in the Marvel Cinematic Universe since Disney and Sony are in a battle over profits. Spider-Man does whatever a spider can, but even a spider can fight only so much against greed and capitalism before he is undone or rebooted. It’s a crying shame because Peter Parker and his alter-ego were wonderfully reinvigorated thanks to Tom Holland who, ever since “Captain America: Civil War,” has proven to be the best Spider-Man yet. Here is hoping this will not be the last time we see Holland in this role as he keeps us invested in this teenager’s never-ending struggle between managing adolescence and being a superhero.

Eight months have passed since the events of “Avengers: Endgame” in which our heroes thwarted Thanos’ snap (everyone else calls it “the blip”) but did so at a great cost. Peter still mourns the death of Tony Stark as he tries to get back to being just a friendly neighborhood superhero, but Tony’s face is everywhere and it seems like everyone else expects Spider-Man to be the next Iron Man. It’s a lot to place on the shoulders of any one person, let alone those of a teenage boy eager to tell the girl he has a mad crush on how he truly feels about her.

A better title for this “Spider-Man” outing would have been “Spider-Man’s European Vacation” as Peter and his classmates which include his best friend Ned Leeds (Jacob Batalon) and love interest MJ (Zendaya), travel to Europe and some neighboring countries. Peter sees this as a much-needed opportunity to take a break from his Avenger duties and just be a kid, and Ned sees it as a chance for the two of them to be American bachelors in Europe because, or so he says, “Europeans love Americans.”

Of course, none of us can expect any Avenger to get much vacation time as the Water Elemental strikes with a vengeance in Venice, leaving our characters to run for their lives. Peter quickly springs into action, but he is aided by another superhero who goes by the name of Quentin Beck (Jake Gyllenhaal), but we all come to know him as Mysterio. Even though the two of them save the day, Nick Fury (the always reliably bad ass Samuel L. Jackson) shows up to tell him his help is needed. Peter protests how he is not ready to extend his duties beyond Queens, New York, but Fury bluntly reminds him, “Bitch, you’ve been to space!”

“Spider-Man: Far from Home” works best when it focuses more on the human element than on the spectacle. Spider-Man has always proven to be one of the most human of superheroes in movies and literature as his personal problems are no different from the ones we experienced at his age. Deep down, we all wanted to seem normal to our fellow classmates, and so does Peter. Still, hormones and awkwardness among other things needlessly but inevitably complicate our lives to where we are left with a lot of emotional scars which take forever to heal, if at all. Peter Parker is the MCU’s prime example of this, and it makes you admire him all the more as his juggling act is made all the more challenging throughout.

Jon Watts returns to the director’s chair after having done an excellent job with “Spider-Man: Homecoming,” and he infuses this installment with the same amount of fun and excitement. Along with screenwriters Chris McKenna and Erik Sommers, he makes Spider-Man’s predicament parallel with the insane times we live in as “alternative facts” and “fake news” have been given far more power than they ever deserved. Whether or not our heroes win the day, we are left to wonder if they will ever be able to fully control the narrative. As one character points out late in the film, “People need to believe, and nowadays they’ll believe anything.” As much as I hate to quote Rudy Giuliani in this or any other review, his ridiculous statement of how “truth is not truth” is played to great effect throughout this movie and its post credit scenes.

The thin line between reality and fiction is put to the test in an amazing sequence in which Spider-Man is thrust into a simulated world which alters his perception of reality in the same frightening way Jennifer Jason Leigh and Jude Law were in David Cronenberg’s “Existenz.” Just when Peter thinks he has a handle on things, so do we, and this proves to be our Achilles heel as reality is not at all what it used to be.

The climatic battle in “Spider-Man: Far from Home” ends up containing a bit too much in the way of CGI and suffers from overkill as a result. It is entertaining to sit through, but the overuse of visual effects ended up taking me out of the action more than I would have liked, and it makes this sequel pale in comparison to “Homecoming.” It always sucks when you watch a visual effect knowing it is a visual effect because there are many moments in this film which made me feel the exact opposite. Still, it failed to take away much of the enjoyment I had in watching these characters suffer through one of the best and worst field trips any of us could ever hope to have.

I also gotta say just how much I love this cast of actors. Aside from Holland, you have the great Martin Starr who is a deadpan delight as academic decathlon teacher Roger Harrington, “Iron Man” director Jon Favreau who gleefully returns as Harold “Happy” Hogan, Marisa Tomei who has long since proven to be the most alluring Aunt May of all, Cobie Smulders who remains an enticing and powerful presence as Maria Hill, and J.B. Smoove is a hoot to watch as science teacher Julius Dell. In addition, Tony Revolori returns as Peter’s classmate and YouTuber Eugene “Flash” Thompson as it allows us to see something many of us have wanted to see done to the most annoying YouTubers of all; get a swift kick in the balls.

It’s fascinating to watch Gyllenhaal here as he was almost cast as Spider-Man at one point. Seeing him making his first appearance in the MCU is a most welcome one as he has long since proven himself an actor to be reckoned with in movies like “Nightcrawler” and “Nocturnal Animals.” As Mysterio, he makes this character a complex one as he sympathizes with Peter’s plight while proving to be a bit of an enigma. When the truth of Mysterio is revealed to all, it made me respect Gyllenhaal’s performance all the more as it shows how he has to play not just with Peter’s mind, but the audience as well. Looks can be deceiving, and Gyllenhaal makes them especially deceiving here.

Like I said, watching “Spider-Man: Far from Home” proves to be very bittersweet as this may very well be the very last time we see this iconic character as part of the MCU. It’s a real shame as the first post credit scene we get foretells of a dark future for Peter Parker as his life is completely compromised through, among other things, doctored footage. Where can he go from here? It’s an infinitely interesting question.

Whatever happens from here, we will always have J. Jonah Jameson.

* * * out of * * * *

 

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‘The Greatest Showman’ Reminds Audiences Hugh Jackman is the Real Deal

The Greatest Showman movie poster

When it comes to singing, I still consider it to the most challenging of all the performing arts. You can be a good singer technically by hitting all the notes just right, but none of it will matter if you don’t put your heart and soul into each of those notes. You can only hide behind technique for so long before the teacher makes you see that you have to be emotionally open and show the audience you are living the song and not just singing it.

I was strongly reminded of this while watching “The Greatest Showman,” the musical drama which stars Hugh Jackman as P.T. Barnum, the infinitely ambitious showman and entrepreneur who created the Barnum & Bailey Circus which ran for over 140 years before shutting down in 2017. Once Jackman sings his first note, it becomes abundantly clear there is no other actor who could inhabit a man who command an audience to where no one could dare take their eyes off him. The scene threatens to be overwhelmed by a rousing musical number, strong choreography and beautiful cinematography, but nothing can upstage the passion Jackman brings to the role as he dominates every filmmaking element to command the stage like no one else can.

For those of you expecting a complex look at P.T. Barnum, you will need to look elsewhere or, better yet, read a book on the man. Director Michael Gracey along with screenwriters Jenny Bicks and Bill Condon are not out to give us a multi-layered portrayal of a man whose success in life was beset by allegations of abuse of his circus animals among other things. Instead, they are more focused on him as a man eager to break out of the shackles of modern life so he can embrace a lifestyle some would say he is undeserving of. At the very least, you have to give the filmmakers credit for not saying this is “based on a true story,” a phrase you all know I abhor with a passion.

We watch as P.T. captures the heart and affection of Charity (Michelle Williams) from a young age even though they come from two different classes of people, P.T. from the poor and Charity from the rich. Nevertheless, their love for one another breaks through barriers, and they marry and bring two beautiful daughters into the world whom they share a powerful love of imagination and possibilities with.

The scene in which we watch P.T. Barnum work in an office and trying not to becoming completely numbed by a redundant work environment resembles the suffocating office Jonathan Pryce was an employee at in Terry Gilliam’s “Brazil,” and from there I was sucked into his quest to escape a life where, as Trent Reznor put it, every day is exactly the same. Of course, his mission in starting an adventurous life is stifled by struggles new beginnings bring about. Barnum ends up buying a museum, but it’s a constant struggle to get anyone to purchase a ticket. Then he employs a number of performers which so-called “normal” people quickly dismiss as freaks of nature. But by giving the public something different, Barnum finally succeeds in making his mark to where nothing he does can be easily ignored.

I found Barnum’s story as presented here fascinating as he tries to find acceptance in a society which pretty much banished him from the day he was born. Barnum even goes out of his way to entice famous Swedish singer Jenny Lind (Rebecca Ferguson) to do a series of concerts in America in the hopes that critics who constantly bash his circus act will come to accept him as an upper-class citizen. The question is, will he leave his circus performers and business partners in the dust in the process?

The plot of “The Greatest Showman” is actually quite thin to where the narrative feels more rushed than you might expect in a movie with a running time of 105 minutes. The story of P.T. Barnum is one deserving of a complex and deeply researched screenplay, but the filmmakers here were instead determined to give us a story about a dreamer who defied the odds and led a life of adventure we all hope to live. If you can accept what they were attempting to do here, this movie will prove to be an enjoyable one, and I was willing to accept it for the movie it was trying to be.

The advertisements boast of how “The Greatest Showman” features music by the lyricists of “La La Land,” another movie dedicated to the risks dreamers take. The songs, which include “Come Alive” and “This is Me,” are rousing and will get you into a wonderfully invigorated state as you sit and take in the spectacle. Having said this, this is not the kind of musical which will remain in your mind long after you have watched it. Perhaps my standards for musicals are too high as “South Park: Bigger, Longer & Uncut” remains the best movie musical Hollywood has released in years (“La La Land” is not far behind).

Aside from Jackman, the other actors acquit themselves nicely. Michelle Williams remains one of the bravest actresses, let alone actors, working today as she never hesitates to lay herself emotionally bare in a scene. Just check out her heartbreaking scene from “Manchester by the Sea” (you’ll know it when it comes up). Williams shares the screen with Jackman to where it should be no surprise she can hold her own with Jackman as their characters’ love is threatened more often than not.

Zac Efron, while I sometimes hoped he would be livelier than he was, certainly has all the right moves as Phillip Carlyle, a playwright who becomes Barnum’s business partner. Zendaya plays Anne Wheeler, an acrobat whom Phillip quickly gains a strong affection for, and she makes her presence in this movie a memorable one. I also have to single out Keala Settle who portrays Lettie Lutz, a bearded lady, as her performance of the song “This is Me” proves to be a real show stopper as we root for her and her fellow freakish performers to come out of the shadows to where no one can ignore or easily dismiss them.

With “The Greatest Showman,” you have a movie musical which has flaws not hard to miss, but I was still enthralled with it even though I am not in a rush to buy the soundtrack. Much of this is due to the actors as there is no denying they put all their heart and soul into their roles. Jackman, who has already has had one heck of a year with his penultimate Wolverine performance in “Logan,” remains a powerful presence whether he is appearing on stage or screen, and even if you have issues with this motion picture, there’s no denying there are few actors like him working right now.

As I walked out of the theater, I was reminded of something Groucho Marx once said:

“I wouldn’t want to belong to a club that would have me as a member.”

Does Barnum believe the same before this movie’s end? I leave it to you to find this out.

* * * out of * * * *

 

‘Spider-Man: Homecoming’ Gives the Web-Slinger a New Lease on Life

Spiderman Homecoming poster

The thought of another “Spider-Man” reboot had me rolling my eyes as this comic book character has already gotten through one too many versions already. But after watching Tom Holland portray him in “Captain America: Civil War,” I found myself getting excited about where the character could go from there. So, it’s my relief and delight to tell you all that “Spider-Man: Homecoming” proved to be a really good movie which successfully breathes new life into a franchise suffering from misdirection and too many chefs in the kitchen. With Holland, we also get the best incarnation of Spider-Man/Peter Parker yet as he gives the role a spirited turn full of youthful energy and boundless enthusiasm.

Director Jon Watts and the screenwriters, too many to name here, wisely avoid regurgitating Peter Parker’s origin story the way “The Amazing Spider-Man” did, and they instead hit the ground running. Peter has received a new Spidey suit courtesy of Tony Stark (the always welcome Robert Downey Jr.), but he is not quick to welcome Peter into the Avengers fold. Instead, Peter has to spend his days at high school like any other teenager and with his equally intelligent best friend Ned (Jacob Batalon). But when a new villain who even the Avengers don’t see coming called the Vulture starts wreaking havoc in Queens, New York, Peter finds himself too impatient to just sit on the sidelines and let him get away with his felonious deeds.

Holland really hits it out of the park here, and his boundless enthusiasm is set up perfectly through a home movie Peter Parker makes which encapsulates his time with the Avengers and battling Captain America. While the character remains the conflicted superhero who has trouble balancing out his school life with his crime stopping job, Holland makes the role his own and brings such an infectious spirit which makes the proceedings endlessly entertaining. Whereas Tobey Maguire and Andrew Garfield made Spider-Man too emo for his own good, Holland doesn’t go the same route, and his interpretation is much closer to the character we grew up reading in the comic books. I was frightened he might become too enthusiastic for Spider-Man’s own good, but his performance never becomes ingratiating and he also shows us a vulnerability which feels genuine and not easily achieved.

Of course, comic book movies need a good villain, and “Spider-Man: Homecoming” has one and, thank goodness, only one. The Vulture is an interesting choice as the person who inhabits him, Adrian Toomes, is as regular a guy as Peter Parker is a regular kid. Adrian is not so much a bad guy as he is a man who feels betrayed and left behind by those who have it all. His belief is that those in power couldn’t care less about the little man or anything he could possibly contribute to society, so he does many villainous things for his own benefit. But unlike many James Bond villains, he is not out for world domination. He just wants to provide for his family like any parent does.

It is a great pleasure to see Michael Keaton return to the world of comic book movies, and he arrives here just as “Batman Returns” celebrates its 25th anniversary. As Adrian Toomes/The Vulture, Keaton renders him into someone all too human even as he lays waste to Queens, New York and anyone foolish enough to get in his way. Even as the character sinks deeper and deeper into the criminal life, Keaton gives Vulture a humanity, albeit a corrupted one, which makes him seem more threatening and morally complex.

The rest of the cast is excellent, and it’s great to see Jon Favreau here as Happy Hogan gets more screen time here than he has in previous Marvel movies. One of the last scenes he shares with Holland is especially good as Hogan comes to see just how much attention he really should have paid to Peter. Downey Jr. continues to bring a sharp attitude to Tony Stark/Iron Man, but he also allows the character to evolve as Tony finds himself becoming a father figure to Peter, albeit a reluctant one. Even Chris Evans shows up in a cameo as Steve Rogers/Captain America, and he steals every scene he is in.

There has been a lot of talk of how Marisa Tomei was too young to play May Parker in “Spider-Man: Homecoming,” but that’s ridiculous. If May Parker is the sister to Peter’s mother, she wouldn’t be as old as Rosemary Harris now, would she? Either way, she brings a wonderful sass to this role, and she remains an enormously gifted actress after all these years. All the same, I wished we got to see more of her here as she has a wonderful chemistry in her scenes with Holland. I kept waiting for Tomei to be the Yoda to Holland just as Harris was to Tobey Maguire, but I guess we will see this come about in the inevitable sequel.

Watts previously directed “Cop Car” which was about two young kids who steal a police car from a corrupt sheriff. Essentially, that movie was about kids getting into the kind of trouble they would be smart to avoid, and “Spider-Man: Homecoming” has the same thing going on. Peter eventually comes to see he is in over his head to where Tony has to take away his Spidey suit. This sets up the third part of the movie where Peter has to see there is more to being a superhero than having a really cool suit. With great power does come great responsibilities, but this Spider-Man comes to see how great power needs to come from within as it cannot simply be co-dependent on nifty gadgets.

Some of the action scenes are a little too frenetic to where it’s hard to tell what is going on, and I was hoping for a little more in the way of emotional gravitas which highlighted Raimi’s first two “Spider-Man” movies. Still, it is a surprise to see how wonderfully inventive “Spider-Man: Homecoming” is as it gives us what appears to be a formulaic story, and yet it keeps giving us one surprise after another, all of which are too clever to spoil here. Just when you think you know how things will play out, the script veers in another direction you don’t see coming, and it makes the movie more interesting as the conflicts become increasingly intense.

I came into “Spider-Man: Homecoming” believing it could never top “Spider-Man 2” which has earned its place among the best comic book/superhero movies of all time. This one doesn’t, but it lands at number two among the “Spider-Man” movies as it is endlessly entertaining and wonderfully cast. My hat is off to the filmmakers for breathing new life into this franchise during a summer where so many others are suffering from fatigue, and I am infinitely eager to see where Spider-Man will go from here. For now, Columbia Pictures appears to have learned from the mistakes made with “Spider-Man 3” and “The Amazing Spider-Man 2” as this iteration is neither an overstuffed bird or a 2-hour long trailer for movies which never materialized. Here’s hoping the filmmakers keep from making those same mistakes in future installments.

And yes, there are two post-credit sequences, and both are worth sitting through the end credits to get to. The second one is priceless and brilliant. Trust me, you’ll see.

* * * ½ out of * * * *