The texture of a superhero is the essence of decision making. The interesting progression of “Spiderman: Far From Home” operates in the realm of naivete. Having done interviews for the original Spiderman films from Sam Raimi but never really watching Andrew Garfield’s version, Tom Holland’s approach is one almost of innocent bewilderment which in turn gives him a sense of awe. One of the most affecting moments in an earlier “Avengers” film is when Holland looks at Robert Downey Jr. as Tony Stark as he is disappearing with a questioning line. But that establishes such a structure that perhaps earlier Spiderman films didn’t have: a connection to others and a larger world. This is likely what will fuel the Black Widow film with Scarlet Johannson since it will bring that essence of story and time to that film. Here the idiom that perpetrated the entire Sam Raimi film is pushed in the background but still rings clear: “with great power comes great responsibility. In trying not to give too much away, Tony Stark, not Iron Man, looms heavily over decisions here…and even perceptions. It is an interesting approach especially when decisions involve “Edith” and aspects of instinct and conscience.
The basic plot without giving too much away is that Peter Parker just wants to be a regular guy and go on a class trip to Europe to tell MJ (played by Zendaya) that he really likes her. While the banter between him and her and, by extension, his best friend and his perspective girlfriend for the trip works in a comic romantic comedy way, the stakes are not that thick, which is alright. The realization is that “Far From Home” nicely plays much lighter than, of course, the “Avengers” films which within their structure have a very dark core while still playing to mainstream structure. Here the threat is paradoxical in a way but one that is unexpected in one way but not in another. During an interview I did with Jake Gyllenhaal for “Stronger” a couple years back, he referenced that he always found it hard to play a superhero (and it seems he had been offered others) that weren’t real per se. That is why the progression here is an interesting exercise (which is all I can say). Any other discussions of heartbreak, destruction, expectation, subversion or transcendence will give away too much but the film does include all of these without becoming too, in a word, tragic. And that is a good thing. Especially when Jon Favreau can bring some fun comic relief without impacting or altering what the story is truly about.
By Tim Wassberg
Considered the pinnacle of power in some ways in the Marvel universe, Captain Marvel’s perception reached a fever pitch after the ending of “Infinity War” because of the intention that Carol Danvers is the savior that will save the wiping off on the universe that Thanos did. After watching the progression but especially in the final minutes per se, one sees how the reversal of fortune could possibly work. The only issue is that, in all fairness, it is very hard to follow up the emotional and textural wallop that was “Infinity War” which worked very much on all levels. Captain Marvel seems at times almost cartoonish comparatively. Granted it is an origin story but throughout much of the film’s first half it feels esoteric in many ways and meandering in others. While the directors (Anna Boden & Ryan Fleck), who have made many indie films together, seem to handle the action quite well, it again feels at times too cartoonish and melding aspects of one corner of the Marvel Universe with “Guardians” and the other side with “Avengers” without really existing in most. The de-aging of Sam Jackson makes him almost the sidekick here which is interesting playing back to that mid-90s vibe allowing him for some great comic bits.
Brie Larson is trying her best and her workout regiment obviously shows that she is up for the task but the tone related (also because some of the dialogue is quite stilted) makes the staccato of the acting seem monotone in a way. It be seen very primarily in the scenes between her and Annette Bening which even in her brief elements, makes the acting look flawless and effortless. The tonality also of Ben Mendelsohn’s Talos, without giving anything away, has some balance but the focus is a bit off, which again might be directing. Little technical elements of 1990s Los Angeles also don’t fit but is a small detail in the bigger picture (i.e. the light rails as well as an underground tunnel in Union Station). Finally the aspect of Jude Law’s character although key to the story feels empty and again stilted at times compared to the effortlessness of Dumbledore in “Crimes Of Grindewald” just a few months ago. The resolution pushes the story forward of course and the texture of 90s songs both works and doesn’t because unlike the mix tape of “Guardians” it is not integral to the story as far as meaning. “Captain Marvel” bridges the gap but doesn’t necessarily do it fantastically, only adequately.
By Tim Wassberg