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SPIDER-MAN: FAR FROM HOME thoughts (spoilers)

I finally saw Spider-Man: Far from Home yesterday, and as with Homecoming, I liked it up to a point but didn’t love it. It’s a bit problematical as a Spider-Man movie, because it’s so heavily rooted in dealing with the aftermath of Avengers: Endgame and the larger status quo of the MCU and Tony Stark’s legacy, so it’s more about using Peter Parker/Spider-Man to tell that story than it really is about telling a Spider-Man story.

I mean, sure, it tries to stay focused on Peter’s romantic pursuit of Michelle — sorry, “MJ” — and his travails with his classmates, evoking the classic formula where his duties as Spider-Man constantly get in the way of his personal life. But as I said in the Homecoming review, I don’t understand the movies’ love for putting Spidey back in high school, and I’m not a fan of the teen-comedy vibe these movies go for. I found most of the humor here clunky and mediocre, or a bit forced when it came to the antics of the teachers. And the romantic plot was pretty much totally devoid of tension or suspense, because it was pretty obvious that MJ was into Peter too and wasn’t into Brad, and it was less a question of “Can our hero overcome obstacles to win the girl of his dreams?” as “When will our hero catch on that she’s already chasing him?” — with the only obstacle being his own slowness on the uptake. Not that I can’t sympathize with that. In high school and college, I squandered at least two chances at romance because I was too dense to tell when I was being flirted with. But in this case, it felt like a foregone conclusion, so Peter’s anxiety about the outcome didn’t resonate.

There was an interesting premise in terms of Peter’s desire to be just a Friendly Neighborhood Spider-Man, a street-level hero, and to resist the pressures to fill Tony Stark’s shoes and take on global responsibilities he’s not ready for. And the movie did make pretty good use of Quentin Beck/Mysterio, doing a variation on his debut storyline of (spoiler alert) introducing himself as a hero and turning out to be a special-effects fraud, in a way that tied very cleverly into the larger MCU narrative. I guessed well in advance that the “Elementals” were a trick — anyone who’s seen more than zero previous Mysterio stories would see that coming — but I was totally unable to guess his real purpose and motives, and while the scene that finally explained it was a bit too stiltedly expository, the revelation of who Mysterio and his team were and why they were pulling this scam — basically that they were the Tony Stark Revenge Squad, so to speak — was totally surprising and totally effective, and bringing back a bit player from Iron Man as a core team member was a nifty touch, as was retconning Tony’s holotechnology from Civil War as Beck’s co-opted invention.

I also really liked the visualization of Mysterio’s illusions, the constantly shifting, surreal, dreamlike quality. It reminded me of something from the classic ’90s animated Spider-Man series, though I checked, and their own Mysterio episode didn’t have that kind of imagery; maybe I’m thinking of a dream sequence from another episode. In any case, it was quite visually striking.

Unfortunately, the central MacGuffin around which the plot revolves is where the movie failed to earn my suspension of disbelief. The EDITH system is just far too powerful and destructive a thing for Tony Stark to leave to a high school kid, no matter how much he trusts him. Back in Homecoming, we saw that Tony equipped Spidey’s suit with a ton of “training wheels” limitations that wouldn’t unlock until he’d proved himself responsible enough to use them. The lack of any such precautions on EDITH is contradictory and out of character. Even granted that Peter’s earned Stark’s trust by now, you just do not build a highly lethal automated weapon system without putting in a ton of failsafes and redundant authentication checks. You don’t build it so completely devoid of safeguards that it almost kills a teenager because of a verbal misunderstanding. You don’t build a system that treats maximum lethality as its default setting in the absence of clarity. Tony Stark was famously irresponsible, sure, but not this irresponsible, not this reckless and cavalier about technology of this level of lethality. The whole EDITH concept was just bad plotting, a ludicrous and poorly thought out notion that pulled me out of the film.

Maybe it could’ve been better if EDITH hadn’t been so lethal. Drop the completely unfunny sequence where Peter almost kills his classmates with the first drone — that was just a horrible idea. The whole defining theme of Peter Parker’s narrative is responsibility, and having him so cavalierly make a mistake that almost murders his romantic rival undermines that deeply for the sake of an ill-conceived joke. Give EDITH more safeguards, and have it default to nonlethal options (Tony was supposed to be a hero, after all, not a mad scientist), requiring extra verification to escalate to more destructive methods. Have Beck’s tech people hack the system once he acquires it, breaking those safeguards. They’re ex-Stark employees, so some of them could’ve been involved in programming EDITH in the first place. Then have them modify the drones to be more lethal. Then you wouldn’t have the disturbing scenario of Tony Stark handing total control of a thousand kill-first drones to a 16-year-old kid.

For that matter, I just realized there’s an inconsistency in the premise. Beck’s team was able to fake the mass destruction of the Elementals before they had EDITH, so they already had some pretty darn powerful killer drones. So why the hell did they need EDITH? What did it really gain them that they didn’t already have, besides volume? Egad, so not only does the MacGuffin make no damn sense, but there’s no real reason for the villain to be so eager to obtain it.

Unfortunately, this is the movie we got, and we’re stuck with it. As flawed as the story is, the execution was good as far as the action went. Some of the character work was satisfying; Peter was pretty much in character, and MJ was more likeable this time now that we got to see her softer side. I particularly liked the close relationship that’s grown between Happy Hogan and Peter, a nice change from the icier relationship in Homecoming. They’ve both turned to each other to fill the void left by Tony. I think this may be Happy’s biggest role yet in an MCU film, and it’s ironic that it’s not in an Iron Man film.

But I do wish the film had given us more of Spidey’s life in New York. I read that several such scenes we glimpsed in the trailers, of Spidey catching thieves just like flies and bantering with the cops about doing their job for them, were cut because the director thought the film had too many beginnings. But seeing the film with that knowledge, I feel the opening was too abrupt and cursory, and those scenes should’ve been left in. Seeing Peter’s early cockiness would’ve made it more potent when we saw him start to be overwhelmed by the public’s demand that he fill Iron Man’s boots; without that groundwork being laid, it doesn’t have as much impact. Plus it would’ve given us a bit more of Spidey just being Spidey in New York before getting to the out-of-his-element stuff in Europe. I know they’re putting those scenes on the Blu-Ray as a short film, but the movie itself feels incomplete without them. If they thought the film had too many beginnings, they could’ve ditched the opening “school news broadcast” sequence, which was a mildly cute but (again) stilted way of conveying exposition that was given in dialogue elsewhere. (Also, why are they doing a retrospective of “the Blip” 8 months after it happened? Why 8 months?)

From the beginning, let’s turn to the ending — or rather, the endings. Perhaps the thing I liked best about Homecoming was that it let Spidey succeed in saving the villain’s life and actually benefit from doing so. So I’m disappointed that this film went the more standard Hollywood route of having the villain die through his own actions. It’s a more cliched, less satisfying ending, and doesn’t serve the Spider-Man character as well. Also, I don’t think Beck was really a villainous enough character for such a fate to feel dramatically warranted; he was unstable, sure, but he had some legitimate grievances against Stark. Nor, conversely, was he a sympathetic enough character for his death to feel all that tragic or meaningful to Peter. So it just seemed like they killed him because that’s the routine formula for movie villains, which makes it underwhelming.

I guess the main value of Mysterio’s death is that it sets up the mid-credits scene where Mysterio posthumously blames Spidey for his death (and all the others the drones inflicted) and destroys his reputation. But come on, he’s Mysterio, the master of deception — he could’ve faked his death and had the same effect. He could probably maintain the deception better in life than posthumously. Well, in any case, it was a hell of a way to introduce Jameson at last, and it was a hell of a surprise to hear that familiar voice. (I wonder why they didn’t try to replicate JJJ’s flattop haircut this time, though. Just to be different from the Raimi version?)

As for the post-credits scene, I have no idea what to make of it. Was there a point to it in the larger MCU narrative? Was it setting up some future film? (Given the lack of Captain Marvel 2 on the recently announced slate, it’s hard to see how.) And just how long has the imposture been going on? It seemed like an arbitrary bit of weirdness and it just kind of fizzled out.

All in all, then, I guess I still don’t feel the MCU has quite gotten a handle on how to do a Spider-Man movie. Hopefully the next one will finally get to be just a Spider-Man movie, with Peter dealing with the fallout from the mid-credits scene (though I wonder how they can possibly work out the timing on that, unless they get to work on it really fast) and generally just living his own life and dealing with his own issues, rather than being so heavily immersed in the larger MCU story arc.

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SPIDER-MAN: HOMECOMING thoughts (spoilers)

I don’t have the budget to see many movies this summer, but Spider-Man: Homecoming was one I felt I needed to see (even though I’m waiting to see Guardians of the Galaxy 2 until the library gets it). And I made enough money on my recent Shore Leave trip that I felt I could afford to spare a few bucks for recreation. Though of course I went on discount Tuesday.

Anyway, I liked the movie, but I didn’t love it. I guess I’m not the target audience for the John Hughes-style teen romantic comedy vibe they were going for — I don’t think I ever was. I got kind of bored during some of those teen-drama sequences, though the young actors were all pretty good. I didn’t dislike it, and it was pretty fun at times, but it didn’t wow me. I dunno, everyone these days seems to be excited about putting Peter Parker back in high school, even though he spent only three years and 30 issues in high school in the comics (well, more like 44 issues counting guest appearances in other books), but I first became interested in Spidey as a college-age character in the 1990s animated series, and I got to know him best when writing about him as a college graduate and part-time high school teacher in Drowned in Thunder. So I guess the idea of making him a kid doesn’t do that much for me.

Still, for what it was, it worked well. It captured the essence of who Spider-Man is, his sense of fun and his desire to help and his commitment to justice even when it screws up his personal life, as it invariably does — just in a more teenagery way than usual. And in the context of the Marvel Cinematic Universe, I can definitely see the value of stepping away from all the big important adult heroes dealing with matters of global or cosmic significance and taking a look at what life in the MCU is like for the little guy down on street level. And Spider-Man is a very good character for that, a hero who often hobnobs with superhero royalty but never loses his connection to the streets. (Which was approached fairly literally here. He tended to stay more on the level of brownstones and bodegas than skyscrapers here, and there was a fun sequence showcasing how hard web-swinging is in suburbia. The few times he did get up high, he had trouble coping with it.) Moreover, it was really interesting to see a street-level villain. Adrian Toomes could soar to any height, but he didn’t want to rule the underworld or conquer the planet, he just wanted to make a dishonest living because he blamed Stark and the government for taking his honest livelihood from him. He wasn’t exactly a victim in the vein of your classic tragic Batman: The Animated Series villain — it’s not like he couldn’t have found a different way to make an honest buck, he just chose to become a criminal and occasional killer because he was ticked off at the system — but he still saw himself as just a guy looking out for his family, making him a more nuanced and relatable villain than the MCU usually manages.

Now — spoiler alert — I could say it’s a huge coincidence that that Vulture turns out to be the father of Peter’s school crush Liz (wait, is she Liz Toomes? Liz Allan-Toomes?), but then, that’s the classic Parker luck. The villain always turns out to be either a family member of one of Peter’s friends, Peter’s own beloved mentor, or both. So I can give that a pass. And it plays out interestingly. We’ve seen the beat of the villain deducing the hero’s identity before in superhero films, perhaps too often, but it rarely plays out on such an intimate scale, and with the villain not really wanting to hurt the hero. Although it does get rather hard to sympathize with Toomes toward the climax, as he’s actively beating up a teenage boy and trying to kill him. That felt like too much of a standard action-movie beat being imposed on the characters. I think that Toomes as established through the rest of the film should’ve had more qualms about such face-to-face violence against such a young opponent.

But I love the way it turns out. I’ve spoken before of my dislike of the way superhero movies insist on killing off the bad guys, either by having the heroes kill them or going the “I don’t have to save you” route or having them die by their own actions or a twist of fate. It was so satisfying to see a movie not do that — to see Spidey risk his life to save the villain, succeed, and even get karmically rewarded for it in the post-credits scene. That’s the way I like to see these stories play out. I was worried about how Spidey, a character largely defined by his refusal to kill, would be handled in the MCU, which tends to make its heroes rather less non-lethal than they usually are in the comics. (Seriously, why would Tony even install “Instant Kill Mode” in that suit?) I’m relieved that they’re keeping that aspect of his character intact.

By the same token, I liked the scene with Spidey and Donald Glover’s character (who apparently is Miles Morales’s uncle). Spidey started out trying to intimidate the guy, but it turned out that what did the trick was Spidey’s kindness — he’d invited the bad guys to shoot him rather than Glover, and the latter appreciated that and was thus willing to help, as well as sharing a common concern for their neighborhood’s safety. That’s the sort of thing that really uses the idea of a Friendly Neighborhood Spider-Man and makes it mean something.

I’m a bit disappointed that Spidey ended the film with the same Stark supersuit he started it with. I figured the arc of the film would be that he’d learn that all those gadgets were too much of a crutch and that he preferred something more basic. Maybe that will still be the case, though — maybe he’ll re-enable “Training Wheels Mode” voluntarily. (Although I read a review that pointed out that having the “Karen” AI to talk to was a nice substitute for Spidey’s constant internal monologue in the comics.)

Speaking of Stark, it’s interesting how he has his own parallel plotline sort of running through this movie, even though he’s mainly there to serve Peter’s story as a surrogate father figure and (rather bad) mentor. Even though he seems to treat Peter as an afterthought, he’s invested an awful lot (literally, financially) in this kid and his training as a hero. It matters to him, even if he’s inadvertently following in his own absentee father’s footsteps. One could wonder why he places so much importance on this one young protege, and partly that’s because it’s Spidey’s movie, but it also fits with where Tony is at this point in the MCU. This thing he’s built, the Avengers, has fallen apart. He’s lost almost his entire team, save for War Machine and Vision, and Rhodey’s probably still on the disabled list. So he needs to cultivate new members — not just for the optics or the logistics, but out of his personal need to keep his dream from being a failure. He’s trying not to rush the kid into it, trying to give him a chance to start out small and work his way up, but he’s equipped the Spidey suit with an AI designed to guide Peter’s training and hone him into Avenger material. And once Peter bypasses all that and proves himself by saving the day in his hoodie and goggles, Tony can’t resist jumping forward and offering him the works, just going all-out for the kid the moment he has an excuse. Because he needs this. Not just to rebuilt the Avengers, but because, as he said, he wants Peter to be better than him. He sees himself in the kid and wants to help him be a better man and a better hero than Tony could ever be. It’s interesting how much this film reveals about Tony Stark even though it’s nominally in a different series and even from a different studio. Some might hold that against the film as a Spider-Man story in its own right, but I enjoy the interconnectedness of all this and how unusual it is for movies. I love it that you can put all these individual films together and get an ongoing story running through most of them as a bonus.

Oh, and speaking of bonuses… Yes, as usual, I was the only one in my theater who stuck around through all the credits and got to see the Captain America tag at the end. It was worth it. (Plus, Michael Giacchino’s score was a good one, so I was happy to listen to the whole end title cue.)