No Way Home Review – The Hollywood Reporter
The heroes that made their way through the pages of Marvel Comics in the 1980s were still relative babies when the mythology transferred to rival publisher DC began to creak under its own weight. Superman and Batman started fighting crime in the late ’30s, for Pete’s sake, and many iterations of their stories, not to mention less revered characters, have piled on top of each other. confusing or contradictory way. The solution is a series called Crisis on Endless Earth, which envisions a collision of alternate realities, in which some characters die, others complete their stories, and many fans (albeit far from all) fans literally allowed to stop worrying if next month’s adventure contradicts the adventure they read fifteen years ago.
That influential series tackles some glaring problems. On the contrary, one might wonder what problems are being fixed in Jon Watts’ Spider-Man: There’s no way home, where Spidey and Doctor Strange open a rift between parallel dimensions, forcing Tom Holland’s Spider-Man to face off against villains who’ve played in the movies opposite his version of the character. by Tobey Maguire and Andrew Garfield.
Spider-Man: There’s no way home
Catnip is for powerful Spidey heads, but less exciting than its predecessors.
Is the problem “there isn’t enough fan service in the Marvel movies”? Undoubtedly, this outing is a prime example of that phenomenon, in which small moments of elation (be it moments of love or disbelief) make an inside joke, hurling gratuitous cameos or Bring back the intergalactic bounty hunters because there’s just not enough Star Wars products not yet available for sale by Disney.
Some fan service works pretty well here; some aren’t subtle enough that you’d expect an actor to look into the camera and wink at you after delivering his lines. But finally, There is no way home uses its multiverse anarchy to solve the only real problem with Dutch-era weblingers: the characterization of Iron Man, in which his already great powers continue. overshadowed by the gadgets that billionaire hero Tony Stark gave him. This is the least interesting of the Watts/Holland pictures by a wide margin (it is, to some degree), but it’s a lot better than the last third of the series. Spidey, Sam Raimi exaggerated and ignorant Spider-Man 3.
The story begins with the closing scene of the final film: Spidey is sitting outside Penn station when J. Jonah Jameson (JK Simmons) reveals his secret identity. Before long, the whole world knew it was Peter Parker under that mask, and the crowd believed that Jameson asserted that Spider-Man was a war criminal. (This repetition of Daily error editor Jameson is clearly modeled after Alex Jones – the real-life stupid advertiser; but as is often the case today, the intent of satire pales in comparison to the stupidity of truth.)
Life gets tough for our hero and his friends Ned (Jacob Batalon) and MJ (Zendaya), who have to deal with the constant attention of the media and the public. uncomfortable scene at school. Somehow (without a doubt), the notoriety even prevented three top employees from getting into any of the universities they applied to. So Peter Parker heads to Greenwich Village, hoping Doctor Strange (Benedict Cumberbatch) can use magic and make his identity a secret again.
A few moments of poor judgment later, Strange had to quell his own out-of-control magic that threatened to summon everyone to our planet, on every other Earth out there, who knows. the name Peter Parker. But part of the cat has come out of the bag, and any viewer who’s seen the trailer knows at least some of the characters are coming to play – first and foremost Alfred Molina’s Octopus Doctor.
As the old villains reappear, we’re reminded that each of them is, in fact, a good soul that has gone wrong – some turned monstrous by the same kind of stupid luck. made Peter a hero. So as Strange prepares to send them back into their own timeline (where, as we may recall, most of them die spectacularly), Peter falters. Urged on by his fiercely moral aunt May (Marisa Tomei, the only woman in the multiverse who can escape the divine attire these movies give her), he insists Try to heal the villains before sending them home. The Avengers controversy is what they are, Spidey and Strange beat it in a magical world where setting is everything. Startthem, then Spidey steals a magical doodad and sets out to save the bad guys.
Instead of spoiling any surprises the plot might have in store, let’s talk about the elephant in the room: Who thought it was a great idea to tackle this material right after the same thing happens in 2018 cartoon Spider-Man: Into the Spider-Verse? That fascinating, eye-catching adventure is refreshing, fun, and exciting There is no way home can really only look stagnant in comparison, drawing on the novelty of faces we haven’t seen in a while and building on the kind of intensely emotional moments that previous Watts films have. tendency to avoid.
Yes, Peter suffers here, losing so much he risks losing the spirit that has made Holland’s Peter Parker triumph on screen since swinging in Captain America: Civil War. At moments, anguish resembles the figure-by-figure routine of building superhero franchises: more of the same, despite the unusual circumstances.
But there’s a lightness in the film’s final scene that gives one hope. What if all these colliding multiverses freed Peter from ties, not only to his previous incarnations, but also to some of his more epic current friends? that? Wouldn’t it be bad if he was allowed to be the “Friendly Neighborhood Spider-Man” for a while, with no obligation to fight aliens and giant monsters every year? Let Doctor Strange explore the mystical depths for a moment, and let Spidey swing.