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| Scene from Spider-Man: Far From Home |
In spite of the "Don't spoil the Endgame" campaign that happened a few months ago, it seems like everyone knows how The Avengers' latest endeavor turned out. In fact, it's almost difficult to watch the latest Spider-Man sequel Far From Home without being reminded about certain deaths and tragedies that bestowed iconic characters. It's a plot device that the film perfectly plays with from the start, featuring a student-made "In Memoriam" for the fallen heroes. For the first time, the Marvel Cinematic Universe is choosing to explore grief on a more granular level. Gone are the theatrics and all that's left is a slideshow taken from Getty Images. With The Avengers in a state of influx, what is there to really do with this franchise, especially as an end to Phase 3: the most audacious piece of the MCU yet.
It's featured intergalactic battles and has taken audiences to the quantum realm. It has created a world where time travel is plausible and that Jeff Goldblum needs his own spin-off series. Most of all, it's given us a Spider-Man who feels authentic, capturing teenage angst that plays against the larger-than-life threats that have kept him from being seen as more than an adversary to the likes of Iron Man. But as Far From Home will posit, Phase 3 has been as much about saying goodbye to the past as well as introducing the future. Should Spider-Man lead the Phase 4 version of The Avengers? Over the course of a very entertaining trip to Europe, the answer is explored and proves why Tom Holland is the perfect fit for the role. With humor and heart, he plays the reluctant hero while managing to mix the John Hughes-style comedy with superhero theatrics, and even some Network-level commentary about the media. It's a lot to take in, but perfectly captures everything that this 23rd means to the narrative at large.
*NOTE: Spoilers for The Avengers: Endgame and Spider-Man: Far From Home
For most of the recent MCU movies, there has been a focus on literal planet-shattering stories all exclusively from the heroes' perspectives. It makes sense, especially as Endgame was already packed with several dozen of characters fighting for screen time. Still, it is hard to feel any weight for these heroes when there's no sense of what they're saving. Everything that Tony Stark has fought for plays well into his arc, but what about the people that are not seen? Who really are they avenging? Far From Home chooses to answer that question in a thorough opening that explores the events of The Avengers: Infinity War from a high school's perspective. What was known as "The Snap" is now called "The Blip," where everyone who disappeared failed to age. There's plenty that's exciting about it, but the film is more interested in something else. It's interested in how one of those small people, your "friendly neighborhood Spider-Man," goes from being among the high school hallways to leading The Avengers as a symbol for hope.
It's a bit disappointing, especially since emotionally it never resonates long enough to have The Blip mean anything psychologically. Sure, millions were redirected and homeless because of it, but it's never addressed. Instead, the film goes for a European Vacation route where there are wacky hijinks in Eastern Europe featuring the S.T.E.M. class that made Spider-Man: Homecoming so addictive. It's an easy concept, but once in Italy and the Czech Republic, there is no focus on the grief that these people faced, suggesting that the homeless issue is predominantly an American problem. Similarly, Americans are seen as the vandals of international travel. With a third act that features excessive destruction of iconic London landmarks (all by students), it helps to paint a dark underside to the comedy. Still, the one who paints the biggest threat on the field trip is Mysterio (Jake Gyllenhaal), a man who manipulates the media into his image. He creates disaster simply to make himself look better. His forcefield of drones could create an illusion that confuses anyone. The question is, how does anyone get through it?
Then again, it's the perfect tool for a reluctant hero and the thinnest of veiling for an MCU addressing modern politics. It's easy to see Mysterio as a more handsome, younger, charismatic version of those who use "fake news" to persuade audiences that the world fits their image. It's here that the reluctant hero plot perfectly ties into the media manipulation plot, but more importantly, shows the struggle of one hero taking on Mysterio. Everyone in some ways is using media to document the adventure across Europe. Students post videos on social media, manipulating the public into thinking that the trip is awesome. Even J.K. Simmons as J. Jonah Jameson appears in a not-so-subtle nod to popular alarmist series during the credits. The film is about wondering what's real and fake. Those who have the power to do good shouldn't waste it, and it's the concept that Spider-Man faces throughout the story. He must accept his role as a leader if just to keep the public safe from harm.
He must also be truthful to his love interest M.J. (Zendaya), who he's more hormonally attached to than ever. As love blossoms around him with comical sidekicks producing twee moments of bliss, he is stuck having to deal with the bigger picture. How can he, a man of limited powers, possibly save all of Europe from harm when he's stuck on a bus and unable to solve all of S.H.I.E.L.D.'s issues? It's a conflict that plays throughout the film cleverly as Nick Fury (Samuel L. Jackson) finds excuses for the trip to go his way. While it seems odd that teachers for a S.T.E.M. class would be a tad dimwitted to go along with it, it suits the plot. Still, it makes it harder for Peter Parker and Spider-Man to exist separately. By being open, he has removed one level of deceit and allowing his attachment to M.J. to become something greater. The moment of honesty helps to open the characters up, proving how the illusions around them are hurting each other.
Director Jon Watts has returned to the franchise and in the process has elevated him to the status of James Gunn and Peyton Reed as essential directors of the MCU. Not only does he understand the characters, but he has a flair for giving the action personality. Whereas this could easily be another dreary MCU film about political corruption, Watts makes it fun by mixing in tropes from European vacation movies and exploring what Spider-Man means beyond his neighborhood of Queens. There are still walls spraypainted with Iron Man pictures everywhere Peter goes, reminding him of the damage left behind. However, he can't just use his powers for a small-time crime. He needs to take on the challenge, and by addressing contemporary conflicts such as media manipulation, Far From Home begins to feel more essential, or at least one meant to provoke greater ideas. It helps to make Mysterio's excellent illusions have more weight than goofy mind games. It also helps that Michael Giacchino is back on score duty, as he has helped to make this franchise one of the catchiest in the MCU.
All things considered, Watts' involvement with the MCU seems like it's only going to grow with time. The Russo Brothers feel like they've hit their limit with The Avengers films and there's a need for fresh blood as the world is about to get crazier. If Far From Home has any faults, it's the fact that it's a bit more impenetrable to new audiences. While it continues perfectly the themes from Homecoming, it also has the cornerstone weight of exploring the past and future more than any Phase 3 film. It has to deal with Captain America: Civil War, where Peter first was introduced as the heir apparent. It has to deal with Endgame and Tony Stark's death. It even has to deal with the first Iron Man given a music reference to AC/DC. It has to bring in themes from Captain Marvel, which is starting to seem incredibly dense to the narrative. As much as Far From Home is a great Spider-Man movie with a lot of entertaining moments, it's also further evidence that the MCU is a bigger series that has to keep moving. Hearing Happy Hogan (Jon Favreau) throw a shield and ask "How does Cap do that?" only works if you've been paying attention to Captain America. The same could be said for the Skrulls who appear late in the credits. Considering that it sounds like the future of Marvel is going to be a lot more mystical, things are only going to get more complicated from here.
With all that said, Far From Home continues Phase 3's odd trend of making sequels that are superior to the previous, whether they be Thor: Ragnarok, Guardians of the Galaxy Vol. 2, or Ant-Man and the Wasp. It's fun to give these characters a sense of personality in the direction while exploring the bigger themes of what it means to be a hero in an age of towering forces of evil. The actors in the film makeup one of the strongest supporting casts in the MCU and bring with it an entertaining movie full of wacky hijinks. While it's too bogged down at times in world-building, it takes enough of a break to allow Holland to thrive as Spider-Man and make Gyllenhaal's introduction to the superhero world have deeper weight. There's a lot to love about the film, even if it gets insane and complicated at times. It's a look into the past and future at the same time and asks us to use our powers for good when we can if just to keep the wrong perspective from influencing and corrupting society.
For most of the recent MCU movies, there has been a focus on literal planet-shattering stories all exclusively from the heroes' perspectives. It makes sense, especially as Endgame was already packed with several dozen of characters fighting for screen time. Still, it is hard to feel any weight for these heroes when there's no sense of what they're saving. Everything that Tony Stark has fought for plays well into his arc, but what about the people that are not seen? Who really are they avenging? Far From Home chooses to answer that question in a thorough opening that explores the events of The Avengers: Infinity War from a high school's perspective. What was known as "The Snap" is now called "The Blip," where everyone who disappeared failed to age. There's plenty that's exciting about it, but the film is more interested in something else. It's interested in how one of those small people, your "friendly neighborhood Spider-Man," goes from being among the high school hallways to leading The Avengers as a symbol for hope.
It's a bit disappointing, especially since emotionally it never resonates long enough to have The Blip mean anything psychologically. Sure, millions were redirected and homeless because of it, but it's never addressed. Instead, the film goes for a European Vacation route where there are wacky hijinks in Eastern Europe featuring the S.T.E.M. class that made Spider-Man: Homecoming so addictive. It's an easy concept, but once in Italy and the Czech Republic, there is no focus on the grief that these people faced, suggesting that the homeless issue is predominantly an American problem. Similarly, Americans are seen as the vandals of international travel. With a third act that features excessive destruction of iconic London landmarks (all by students), it helps to paint a dark underside to the comedy. Still, the one who paints the biggest threat on the field trip is Mysterio (Jake Gyllenhaal), a man who manipulates the media into his image. He creates disaster simply to make himself look better. His forcefield of drones could create an illusion that confuses anyone. The question is, how does anyone get through it?
Then again, it's the perfect tool for a reluctant hero and the thinnest of veiling for an MCU addressing modern politics. It's easy to see Mysterio as a more handsome, younger, charismatic version of those who use "fake news" to persuade audiences that the world fits their image. It's here that the reluctant hero plot perfectly ties into the media manipulation plot, but more importantly, shows the struggle of one hero taking on Mysterio. Everyone in some ways is using media to document the adventure across Europe. Students post videos on social media, manipulating the public into thinking that the trip is awesome. Even J.K. Simmons as J. Jonah Jameson appears in a not-so-subtle nod to popular alarmist series during the credits. The film is about wondering what's real and fake. Those who have the power to do good shouldn't waste it, and it's the concept that Spider-Man faces throughout the story. He must accept his role as a leader if just to keep the public safe from harm.
He must also be truthful to his love interest M.J. (Zendaya), who he's more hormonally attached to than ever. As love blossoms around him with comical sidekicks producing twee moments of bliss, he is stuck having to deal with the bigger picture. How can he, a man of limited powers, possibly save all of Europe from harm when he's stuck on a bus and unable to solve all of S.H.I.E.L.D.'s issues? It's a conflict that plays throughout the film cleverly as Nick Fury (Samuel L. Jackson) finds excuses for the trip to go his way. While it seems odd that teachers for a S.T.E.M. class would be a tad dimwitted to go along with it, it suits the plot. Still, it makes it harder for Peter Parker and Spider-Man to exist separately. By being open, he has removed one level of deceit and allowing his attachment to M.J. to become something greater. The moment of honesty helps to open the characters up, proving how the illusions around them are hurting each other.
Director Jon Watts has returned to the franchise and in the process has elevated him to the status of James Gunn and Peyton Reed as essential directors of the MCU. Not only does he understand the characters, but he has a flair for giving the action personality. Whereas this could easily be another dreary MCU film about political corruption, Watts makes it fun by mixing in tropes from European vacation movies and exploring what Spider-Man means beyond his neighborhood of Queens. There are still walls spraypainted with Iron Man pictures everywhere Peter goes, reminding him of the damage left behind. However, he can't just use his powers for a small-time crime. He needs to take on the challenge, and by addressing contemporary conflicts such as media manipulation, Far From Home begins to feel more essential, or at least one meant to provoke greater ideas. It helps to make Mysterio's excellent illusions have more weight than goofy mind games. It also helps that Michael Giacchino is back on score duty, as he has helped to make this franchise one of the catchiest in the MCU.
All things considered, Watts' involvement with the MCU seems like it's only going to grow with time. The Russo Brothers feel like they've hit their limit with The Avengers films and there's a need for fresh blood as the world is about to get crazier. If Far From Home has any faults, it's the fact that it's a bit more impenetrable to new audiences. While it continues perfectly the themes from Homecoming, it also has the cornerstone weight of exploring the past and future more than any Phase 3 film. It has to deal with Captain America: Civil War, where Peter first was introduced as the heir apparent. It has to deal with Endgame and Tony Stark's death. It even has to deal with the first Iron Man given a music reference to AC/DC. It has to bring in themes from Captain Marvel, which is starting to seem incredibly dense to the narrative. As much as Far From Home is a great Spider-Man movie with a lot of entertaining moments, it's also further evidence that the MCU is a bigger series that has to keep moving. Hearing Happy Hogan (Jon Favreau) throw a shield and ask "How does Cap do that?" only works if you've been paying attention to Captain America. The same could be said for the Skrulls who appear late in the credits. Considering that it sounds like the future of Marvel is going to be a lot more mystical, things are only going to get more complicated from here.
With all that said, Far From Home continues Phase 3's odd trend of making sequels that are superior to the previous, whether they be Thor: Ragnarok, Guardians of the Galaxy Vol. 2, or Ant-Man and the Wasp. It's fun to give these characters a sense of personality in the direction while exploring the bigger themes of what it means to be a hero in an age of towering forces of evil. The actors in the film makeup one of the strongest supporting casts in the MCU and bring with it an entertaining movie full of wacky hijinks. While it's too bogged down at times in world-building, it takes enough of a break to allow Holland to thrive as Spider-Man and make Gyllenhaal's introduction to the superhero world have deeper weight. There's a lot to love about the film, even if it gets insane and complicated at times. It's a look into the past and future at the same time and asks us to use our powers for good when we can if just to keep the wrong perspective from influencing and corrupting society.
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