#but still though.... Jon deserves so much more than to be relegated to a punchline about how much of a loser he is

[steakout-05]

jon horse jon horse <3

[thenerdparty]

Spider-Man: Far From Home - Film Review

Written by Shawn Eastridge

I never thought I’d ever say this, but I’m starting to think Spider-Man might be too good for Marvel’s Cinematic Universe. No. Scratch that. I know he is. And Far From Home, the latest entry in this franchise, proves it once and for all.

I was willing to give Spider-Man: Homecoming a pass. Despite being relatively shallow, it’s light on its feet, has a great villain in Michael Keaton’s Vulture and contains a strong emotional beat for Spidey near the film’s climax. Far From Home has none of this. In fact, Far From Home is one of the blandest entries Marvel Studios has yet released. Instead of seeking out opportunities to deepen Peter Parker’s character, Marvel Studios has relegated him to cleaning up the mess Avengers: Endgame left behind.  When a Spider-Man film makes you long for the emotional depth of Spider-Man 3, you know there’s a problem.

Following the shenanigans of Infinity War and Endgame, Peter is understandably ready for a vacation. His upcoming summer class trip is the perfect opportunity to do so. Not only will he and his best bud Ned get to take in a number of scenic European views, but Peter will get a chance to spend quality time with his crush MJ. And maybe, just maybe, he’ll finally get the chance to tell her how he feels. Peter even goes so far as to leave his Spider suit behind, determined to enjoy this time off to the fullest. 

Naturally, things don’t work out that way. Before long, Nick Fury arrives to pull Peter off of the sidelines and back into the superhero-ing world. Quentin Beck, a superhero claiming to be from another dimension, has arrived in the midst of a number of Elemental monster attacks. These Elementals, comprising of - you guessed it - water, fire and earth, destroyed Beck’s Earth. Beck is now determined to protect Peter’s Earth at all costs, but he and Fury will need Peter’s help to do so. That is, if Peter is up for the task.

Right from the get-go, Far From Home casually dismisses Endgame’s dramatic heft in favor of a quick laugh. While I understand the need to establish a different tone from Endgame, the offhand way Far From Home makes light of Endgame’s superb conclusion further emphasizes how little director Jon Watts and this creative team cares about making anything that happens here feel significant in any way. At every turn, Far From Home attempts to distract the audience from its glaring insignificance by going the route of comedy. Every action sequence is punctuated by some half-assed punchline or an overriding sense of artificiality - Flash Thompson live-blogging on his phone; the teachers making some kooky comments about how they’re all going to die. There’s no sense of danger. No suspense. No stakes. None of it feels remotely believable. 

To be fair, the emphasis on humor is a common complaint lobbied at the MCU. Here’s the thing, though: while humor plays a large role in these films, the humor enriches the already present emotional stakes and characters. For the most part, we’re laughing with our heroes, not at them. (Thor: Ragnarok is the argument to the contrary, but the big difference between that film and this one is that Thor: Ragnarok is actually funny.) Far From Home can’t seem to differentiate between those two things. Maybe it wouldn’t have been so bad if the jokes didn’t feel so forced and awkward.

And, hey, speaking of forced and awkward, how ‘bout those action sequences? With the exception of one genuinely impressive Mysterio-inspired acid trip, every action scene feels lackluster and uninspired. It’s like the studio handed director Jon Watts a shot list and storyboards without taking any input from him. “All you need to do is show up on set and say, ‘Action!’ Whatever unique sensibilities or voice Watts brought to the table with Homecoming have all but vanished in Far From Home. 

Actually, you know what it reminds me of? Marc Webb’s short-lived Amazing Spider-Man series. No, hear me out real quick. Neither of those movies are particularly good, but which one feels more like the product of the 500 Days of Summer director? The first one, right? And which one feels more like a studio-mandated, computer-generated crapshoot? (There’s only one guess left here, people. You can’t go wrong) 

Far From Home is the MCU’s equivalent of The Amazing Spider-Man 2. It’s louder, more colorful and ultimately emptier than its immediate predecessor. I guess it’s fitting that Mysterio would be Far From Home’s main villain. A character that specializes in crafting intricate illusions to hide how insignificant everything is? Sounds about right, doesn’t it? Jake Gyllenaal takes on the role with manic enthusiasm, but the character’s motivations are flimsy and dull. Once again, we have a villain hellbent on getting revenge on Tony Stark, and once again, we have Spider-Man cleaning up a mess Tony Stark left behind. 

Great.

Things don’t fare much better with Peter’s personal relationships either, in particular, the romance between Peter and MJ. The two of them are all awkward pauses and nervous tics. It’s adorable, make no mistake, but like most of Far From Home, it feels artificial. We never get the sense that there’s a real connection between these two because Watts and screenwriters Chris McKenna and Erik Sommers (the same writing pair behind the dull beyond all reason Ant-Man and the Wasp) never take a break from telling jokes to offer up a single moment of sincerity. Tom Holland and Zendaya have great chemistry, but there’s no substance to their interactions. The rest of the supporting cast are simplistic types, barely memorable. Even Ned, one of Homecoming’s highlights, is left on the sidelines with little to do.

What’s really disappointing is that Far From Home contains the set up for what could have been really great Spider-Man story. I love the idea that Peter just wants a break from all the crazy superhero duties. He just wants a vacation with his friends; he wants to spend time with the girl he’s crushing on. Doesn’t he deserve a break? It’s in the execution that this film fails.

Many of Spidey’s best tales deal with Peter’s struggle to balance his personal life - money woes, girl troubles, job issues, etc. - with the responsibility of being a superhero. It’s what makes this character so special. He carries a significant weight and the responsibility of being Spider-Man puts a damper on everything in his life. Sam Raimi’s trilogy understood this perfectly. It’s why those films still hold up so well. Even Spider-Man 3, as stupid as it is, had its heart in the right place.

The problem with the MCU’s version of Spider-Man is that it seems to ignore the emotional depth of the character in favor of a quick laugh and light-hearted adventures. Peter’s struggles never evolve beyond the surface level. There’s no sense of responsibility or obligation, nothing personal that seems to motivate Peter’s decision to be a hero. Marvel Studios is so concerned with making Spider-Man light and fun, they’ve forgotten to provide any meaningful emotional stakes or the slightest bit of complexity to the character. Other than a brief conversation in ‘Captain America: Civil War’ (which, by the way, remains the MCU’s best interpretation of this character to date and ISN’T EVEN A SPIDER-MAN MOVIE), we don’t have a strong sense of who Peter is or why he does what he does. As far as I can tell, Peter wants to be Spider-Man because he wants to live up to Tony Stark’s legacy. His entire motivation is reliant on another character. This robs Peter of a personal motivation and, as a direct result, reduces the character to a pale imitation of his true potential. 

And, look, I get it. The Uncle Ben stuff is well-tread territory. I’m not saying I need the same angsty overtones provided by the Raimi/Maguire trilogy, but the way these films bend over backwards to not mention Uncle Ben is borderline parodic. Here’s the thing: you don’t have to show Uncle Ben’s death or have it take precedent over the story to show its impact in Peter and Aunt May’s life. 

Instead of taking advantage of the chance to deepen the relationship between these two, to show how they’ve tried to move on in the wake of Ben’s passing, life seems pretty peachy-keen for the Parkers. They don’t seem to struggle with any money woes, illnesses or anything else that could potentially offer these films an ounce of significance. Uncle Ben provides the core motivation for why Spider-Man does what he does. When you take that out of the picture, what else is left? I mean, they don’t even acknowledge the fact that Peter has had two, count ‘em, TWO, father figures taken from him in the span of, like, a year. Come on, people!

And at the center of all of this, fighting to overcome the film’s lack of identity and overarching blandness, is Tom Holland. Holland is a remarkable, gifted young actor. He’s nailed this character and has proven time and time again he has the chops to pull off a far more meaningful interpretation. I wish the studio was willing to meet him halfway. To watch him give his all in a film that doesn’t remotely deserve his talents is a depressing experience. 

That’s really the best way to describe this film. ‘Depressing.’ Far From Home reduces Spidey to a C-list member of the MCU’s expansive ensemble. His entries in this franchise feel more like financial obligations than attempts to tell meaningful stories. I wouldn’t care as much if it was another character getting lost in the corporate chaos, but this is SPIDER-MAN we’re talking about. He’s one of the most complex and beloved characters in the history of storytelling. The source material is overflowing with great stories that have meaningful emotions and stakes and this is the best Marvel Studios can come up with? As portrayed here, Spider-Man is no longer a character that can stand on his own. He’s just a fly trapped in someone else’s web. 

FINAL RATING: 2 out of 5