We regret to tell you that the liveliest and least pretentious of Marvel’s subsequences has made it “for the fans”.
Our friends at a major American publication have already been canceled for revealing what now constitutes spoilers (anything), but you surely already know that the latest Spider-Man film, ghost of a few movements of the formidable animation Into the Spider-Verse, has made his hero and his friends like characters of parallels tackle the adventures of web-spinners.
Yes, sometimes the self-referential intertwined curves get a little too much to bear. The film winks at the viewer so furiously that it risks rupturing a ligament. No Way Home is poorer because it exhibits little of the high school humor that so enlivened the first two episodes. But the new film – despite some dreaded “darker” moments – remains much lighter on its feet than 90% of the Marvel Cinematic Universe. It’s like Eternals never happened.
The image also has a problem of reaching too strong for the socio-political significance
The trailer made it clear (look, if you don’t want to know anything at all then stop reading) that Peter Parker, back in the pleasantly light form of Tom Holland, is grappling with the new public awareness. that he’s Spider-Man. . The amusing MJ (Zendaya, still stellar) is reasonably relaxed about the situation, but poor old Aunt May (Marisa Tomei, yet another MVP contender) doesn’t appreciate the press helicopters hovering in front of the window.
Peter visits Dr. Strange (Benedict Cumberbatch) and asks him to make the world forget his identity, but the spell goes awry and entities from these other worlds arrive to make life difficult.
Before we rely too much on the Spider-Man team to search the web for their own shooter, we have to recognize that an institution no less venerable than Doctor Who did something similar almost 40 years ago. The problem is less the cultural solipsism itself and more how these complications crowd out sympathetic character interactions.
At its busiest, loudest level, No Way Home is just as alienating as the fighting in the skies at the end of every Avengers movie. Jokes are better, but CGI always obstructs more than it enlightens.
The image also has a problem of reaching too strong for socio-political significance. Unless I misinterpret it, there seems to be a central dilemma in favor of generosity in our treatment of asylum seekers. This is a very laudable message, but the replacements for exiles are, say, not entirely appropriate.
Holland has always been convincing as a child with a power he can’t quite believe in, but here he gets the chance to convincingly spread into adulthood.
Much better is contemporary media satire courtesy of a J Jonah Jameson (JK Simmons, walking through the Raimi era Spider-Man without the benefit of a portal) and disreputable gossip site than became the Daily Bugle. âGood night and God help us all,â he concludes in a hilarious style.
What really makes the thing fly – and it still flies – is the spiritual energy of Jon Watts directing and the bubbly chemistry between the main cast.
Holland has always been convincing as a child with a power he can’t quite believe in, but here he gets the chance to convincingly extend into adulthood. The essence of contemporary cinema stardom runs through Zendaya’s veins. Tomei is simply the closest thing to a real human in the entire Marvel Universe.
Few streaks in mainstream cinema this year have been as joyful as Spider-Man and MJ’s opening shift in New York City to Talking Heads’ I Zimbra overtones.
The rhythmic ending is truly touching and portends a bright future for the superhero who started the cinematic ball almost 20 years ago. We can’t blame Spidey for the glut that followed. He’s still the funniest of the bunch.
General release now