Directed By Jon Watts
Starring – Tom Holland, Samuel L. Jackson, Jake Gyllenhaal
The Plot – Our friendly neighborhood Super Hero (Holland) decides to join his best friends Ned (Jacob Batalon) , MJ (Zendaya), and the rest of the gang on a European vacation. However, Peter’s plan to leave super heroics behind for a few weeks are quickly scrapped when he begrudgingly agrees to help Nick Fury (Jackson) uncover the mystery of several elemental creature attacks, creating havoc across the continent!
Rated PG-13 for sci-fi action violence, some adult language and brief suggestive comments
– Maturity of a script. As a tie-over from the previous installment, the film still feels very enriched in this teenage romantic comedy direction that just so happens to take place in a superhero universe, and while this tone was consistently satisfying for me, the film’s evolution during the second half as this cautionary tale for technology heightened my interest for where this film would take us. It certainly didn’t disappoint, as the social commentary of becoming too vulnerable in the devices that guide our every day occasions, as well as difficulty in distinguishing what’s real and what’s manufactured news is something that resonates ever so soundly in the current day landscape of our own political stratosphere. Like Peter, this is a film that matures as it ages, and in turn Marvel maintains the fantasy of a superhero dynamic with this unnerving echo of a world not too far from our own, conjuring up a balance that harvests this very lived-in feeling of patented world building.
– The difference. If there’s one thing that Spider-Man films in this version of the M.C.U does better than its company, it’s the inspiring camera work on-and-off the ground that bring to life the movement of its characters full circle. In this installment, we get a series of long-take, no-cut shots for sequences involving Peter with a pivotal character. These intended delves not only amaze us in the youthful cast’s capabilities in memorizing long exchanges of dialogue, but also allude to the real time that is playing out before Peter’s very eyes that he often doesn’t get enough time to live inside of. To contrast this, the flying and web slinging sequences attain a level of calculated introversion that maximizes the height of the danger without sacrificing the audience’s ability to follow the events of the scenes with their eyes. The editing is used only when necessary, and the POV camera gimmicks aren’t nearly as depended on as they were in “Homecoming”, an aspect that pleases an easily motion-sick moviegoer like myself wholeheartedly.
– Musical Michael. Music continues to be a character in these Spider-Man films, but this time their inclusion feels very much absorbing in attaining the geographical designation that the film often switches up. Because this is a film that takes us through many diverse cultures in country, composer Michael Giacchino wastes no time tuning us into the very pulse of these rich locations with a score that audibly tells the story. If you’re paying close attention, you’ll notice instruments used during particular scenes that radiate the flavor that we’re used to in our understanding of the environment, and in addition to this the soundtrack itself of assorted pop culture favorites are inserted at the most opportune time to really make them pop. Some of my favorites involve New York-heavy artist The Ramones to channel that big apple state of mind, as well as one of my favorite 80’s tracks “Vacation” by The Go-Go’s narrating through a series of vacation photo stills for the film’s end credit sequence that establishes an infectious vibe that makes it difficult to say you didn’t have a fun time.
– Twists. Many people, including myself, had theories heading into this film, and while I did accurately predict nearly everything that transpired on-screen, it was really where the film took it after the twist that I truly didn’t expect. Without spoiling anything, there was a distinct feeling that I had when this occurred that gave me unnerving chills towards “Iron Man 3”, a film nearly ruined by its direction of an unexpected twist, and while the charms of a gimmick are slowly evaporated in this film alike, the grounded progression associated brought forth an antagonist that was not only easy to invest in and understand, but also brought forth much needed weight to a very localized threat when compared to what these films have faced in dangerous adversity. What I truly loved was this earned feeling of paranoia that persists from within Peter, casting great vulnerability for a character who usually overcomes by expressing his personality. That’s really taken away here, and brings forth an antagonist who succeeds not because of an empathetic backstory, but because of the sharpness of intellect that brings forth power that we surprisingly haven’t yet seen in the Marvel Cinematic Universe.
– Strong leads. Tom Holland continues to amaze, balancing the two sides of this character that no actor has completely enveloped before him. As Peter, Holland very much wraps himself in the awkwardness and nervousness of being a teenager, and we’re treated to a series of firsts for the character that might as well be home movies levels of revealing for his usual code of armor. As Spider-Man, Holland feels every bit believable in combat as he does evolving as a superhero. Throughout the film, the character is forced to deal with these imposing expectations that everyone has for him, and it better fleshed out a performance for Tom that competently articulates those needle-inducing levels of anxiety that all teens must live up to in one way or another. Also great are turns from Zendaya, and especially Jake Gyllenhaal as one of my favorite characters in the Spider-Man universe, Mysterio. On the former, Zendaya’s version of Mary Jane very much soaks in the ideals for women of the time, delivering on a character who is weird, guarded, intelligent, and especially cool. Like “Homecoming”, it took me a while to warm up to her, but I found myself falling for the uniqueness and originality of her version of M.J in the same vein that Peter does, and the chemistry that exists between them accurately moves through the motions of teenage romance to a lump-in-the-throat tee. Gyllenhaal is spectacular in this role, chewing through enough scenery in the scene to make him an unshakeable presence even in a scene that doesn’t include him. He’s one of those characters you just can’t wait to get back to, and while I loved the scenes where he’s the new Tony Stark of sorts to Peter’s open void, Jake’s work when he’s in action really dazzles the complexity of his character’s abilities.
– Costume design. The combination of practical and computer generated are married seamlessly here, sketching an eye for transition in believability that were practically lifted from the pages of a comic book. For Spidey, we get not one suit, but four different ones, taking us through the genius of Tony Stark’s attention to detail. Most of the suit’s movements and artificial shine are obviously manufactured, but there’s no substitute for the grandeur associated with a new suit reveal, that if you’re watching closely will take you through the past, present, and future of Spider-Man sheik. On the material side of design, Mysterio’s suit, especially his neon armor, is possibly my favorite of the entire Marvel Cinematic Universe. Considering how fantastical his suit is in the comics, it’s remarkable what the production team is able to accomplish here, giving us pride that for once a better suit wasn’t make on the Comic Con floor by an adoring fan.
– Crisp pacing. For a film that exceeds the two hour mark (Barely), the surprise of a film that breezes through left me yearning for more. For me, this doesn’t happen often in superhero movies, especially ones where the events from start to finish take us through so much complexity, but the screenplay’s ability to value the two sides of the Parker dynamic respectively equal is enough to pay-off for fans of every Peter spectrum, giving us possibly the single easiest sequel to watch to date. What helps even more is that the film’s strength for me is the second half, elaborating that “Far From Home” will only get better the deeper you invest into it. Along the way, there’s no shortage of valuable action set pieces, intoxicating dialogue that reaches for the one laugh a scene ratio, and alluring characters, lead and supporting, whom we don’t think two hours with is ever enough to satisfy our pallets for them.
– Post credit scenes. NO SPOILERS HERE, but I wanted to mention them because for once BOTH scenes are important not only in the future of Marvel installments, but also for the degree of permanence that exists because of them. The first reminds me of a John Wick direction for Spider-Man that hints that darker days are certainly ahead for the integrity of the character, and the second proves that our once conventional world of occupants will no longer be the same after the Endgame has come and gone. In the past, post-credit Marvel scenes don’t always bat a thousand, in fact, it’s become quite expected that one of these scenes will be a snoozer, but thanks to urgency associated with getting this second volume of the M.C.U off of the ground, the necessity to grab the attention of audiences ensures them that despite so many losses on-screen, the integrity of the name Marvel will still persist in telling a whole new collection of stories involving diverse characters.
– Exposition dumping. There are many examples throughout the film where the need to explain too much overwhelms the sequence that accompanies it, making them feel like manufactured inserts instead of this rich level of authenticity that if done right will feel like natural conversation. I point particularly to the big twist scene as the shining example, where the film halts progress to explain far too much about what has transpired to get here, but there’s a collection of scenes like this during the first act that tie itself a bit too tightly to Endgame before allowing itself to break free on this new chapter of life that Marvel is headed towards. I feel that the exposition could spread itself out a little easier to reach its intended purpose, but what we’re left with are a couple of scenes that drown on a bit too long, and are a bit alluding to perfectly tie them in a neat bow for audiences who have difficulty paying attention.
– Same problems. As is the case with an on-going cinematic universe, this film has the same lack of believability that other superheroes wouldn’t come to the rescue to stand alongside their favorite web-slinging superhero, and take down the powerful nemesis. It’s mentioned early on where the big guns like Thor and Captain Marvel are at that particular moment, but what about the other Avengers? What about Hawkeye? What about War Machine? I find it difficult to believe that this madness is transpiring in a major place like Paris, and no one is catching wind of it? In addition to this, convenient plot devices like Stark’s glasses being introduced exactly one scene before Peter needs to wipe away a picture on a phone is clumsy to say the least, but still persist in a world with too many coincidences to feel engulfed in reality. Likewise, the more that I start thinking about the villain’s gimmick with technology, the less it makes sense in all measures of gravity. Can a movie playing on a projection screen touch or cause damage to objects around it?
My Grade: 8/10 or B+