The film picks up where its predecessor left off where Peter Parker’s identity as Spider-Man has been unveiled leading to him to trouble where he turns to Doctor Strange for help only for the spell be botched by Parker leading to the opening of the multi-verse where other villains from other universes try to kill Parker. It is a film about this young man who is just trying to finish his senior year in high school and go to MIT but his friends are affected by their chances as they too know about Parker’s identity as does his aunt May (Marisa Tomei) and Happy Hogan (Jon Favreau). Parker feels responsible as he wants to be a normal person where he asks Doctor Strange in casting a spell that would allow the world to forget that he’s Spider-Man yet there’s people he cares about that still wants him to know that he’s Spider-Man. The film’s screenplay by Chris McKenna and Erik Sommers is ambitious in terms of not just the idea of the multiverse and the many foes that Parker has to deal with but also in themes of responsibility and redemption.
Past films about Spider-Man did involve multiple villains in different iterations where they often become bloated and messy but McKenna and Sommers manage to find a structure but know when not to do too much. The first act is about Parker dealing with his identity being known as he is seen by many as a murderer with the Daily Bugle leading the charge as its reporter J. Jonah Jameson (J.K. Simmons) instigating the matter which makes Parker’s life worse but also affect the chances of his girlfriend MJ (Zendaya) and their friend Ned (Jacob Batalon) to go to MIT. He goes to Doctor Strange who is dealing with issues at his home as well as the fact that he’s no longer the Sorcerer Supreme due to being blipped as Wong (Benedict Wong) is now filling that role. The second act is about Doctor Strange’s botched spell and what got unleashed in these villains that all want to kill Parker but they all realize that he’s not the Parker they’re going after. Dr. Otto Octavius/Doctor Octopus (Alfred Molina), Dr. Norman Osborn/the Green Goblin (Willem Dafoe), Dr. Curt Connors/the Lizard (Rhys Ifans), Flint Marko/the Sandman (Thomas Haden Church), and Max Dillon/Electro (Jamie Foxx) all have issues as Doctor Strange manages to traps them in the hope of sending them back to their universes but Parker realizes that they’re fated to die as he hopes he can help them as the script manages to show that these men weren’t villains from the start but rather men who made mistakes or were slighted in some way.
It does play into the theme of redemption as it relates to a scene where Osborn in his lost state meets with May knowing that he is mentally-unbalanced as it allows Parker this idea of wanting to help him with Ned and MJ’s help though Doctor Strange does have valid concerns for not wanting to. Parker’s actions in trying to help is what leads to this third act as it doesn’t just play into the theme of responsibility but also how to overcome guilt as it does lead into more ideas of a multiverse and how those from other universes would help Parker.
Jon Watts’ direction is definitely grand in scope and in setting up the multiverse but it is also grounded in this human story of a kid that is a superhero but is aware of what he can do but also knowing that he can do more. While it is shot mainly in Atlanta at the Pinewood Studios in Duluth, GA as Queens and parts of New York City with some additional shots in the New York City area. Watts does manage to make the city a character in the film from the opening scene in Times Square where Parker’s identity as Spider-Man is revealed where he and MJ run from the authorities as it has some amazing scenes of Spider-Man and MJ swinging to avoid the news and such as the usage of close-ups and hand-held cameras add to that chaos. Watts would also keep things grounded for some of the humorous and dramatic scenes with close-ups and medium shots such as Happy, May, MJ, Ned, and Parker all being interrogated by the FBI as May and Parker would lose their home and move in at Happy’s apartment with the AI mini-crane that Tony Stark created. There are bits of humor that Watts put in as it play into the interactions between characters but also in how it plays into some of the absurdity of the multiverse.
There are also some wide shots to play into some of the fights such as Parker’s first interaction with Dillon where Parker unexpectedly gets help from Marko of all people as it really showcases a lot of the complexities into the people Parker is dealing with. Especially as Dr. Octavius, Osborn, Dillon, Dr. Connors, and Marko are all different villains who do have issues with Spider-Man in their respective universes but they also learn about their own fates as it definitely adds a lot of dramatic weight. The sequence of Strange and Parker fighting over an object that Strange created to send the villains back to their respective universes is among one of the most surreal as it play into Strange’s pessimism against Parker’s own belief about second chances for these men as his experiment would show that even people who lost their way can be redeemed.
Yet, this idea would be challenged once again for its third act where Watts showcase not just some intensely dark moments that Parker has to face but also the outcome and how it affects those around him. Even as there are those who feel that they either couldn’t be redeemed or are eager to want something more rather than go back to who they used to be. It would play into the film’s climax where Watts does create this grand moment that has a lot of callbacks to the other Spider-Man films but also an aftermath that is about responsibility and what Parker had to do for himself and for those he cares for. Overall, Watts crafts a rapturous yet emotionally-investing film about a young man trying to reclaim his identity as well as take action for his own mistakes and help those who had been lost in their own rage.
Cinematographer Mauro Fiore does brilliant work with the film’s cinematography as its usage of vibrant colors for a few scenes at night including the usage of red and blue lights help broaden a mood for those exterior scenes at night along with the natural approach to scenes in the day. Editors Leigh Folsom Boyd and Jeffrey Ford do excellent work with the editing as it is stylish with its usage of jump-cuts, fast-cuts, and other rhythmic cuts to play into the action as well as some straightforward cuts for some of the dramatic moments. Production designer Darren Gilford, with supervising art director David Scott plus set decorators Rosemary Brandenburg and Emmanuelle Hoessly, does amazing work with the look of the Sanctum Sanctorum and its basement as well as the look of Happy’s apartment and the design of the Statue of Liberty for the film’s climax. Costume designer Sanja Milkovic Hays does fantastic work with the costumes in the different designs of the Spider-Man suits including the Iron-Spider suit with its nanotech as well as some the casual clothing from the other characters including some of May’s stylish clothing.
Special effects supervisor Daniel Sudick, along with visual effects supervisors Kelly Port and Chris Waegner, do wonderful work with the visual effects in the design of Octavius’ claws, some of Electro’s powers, the look of the Lizard, and other visual effects as it does have an air of realism and a lot of detail into the villains but also in the overall presentation during the film’s climax. Sound designers Chris Diebold, Tony Lamberti, and Ken McGill, with sound editor Steve Ticknor, do superb work in the sound as it play into some of the sound effects in Spider-Man’s web shooters as well as some of the weapons the villains have as well as other objects in the film. The film’s music by Michael Giacchino is incredible as it is a major highlight of the film with its bombastic orchestral score but also some soaring themes involving strings that include some of its quieter moments while music supervisor Dave Jordan creates a soundtrack that features themes from other Spider-Man films by Hans Zimmer, James Horner, and Danny Elfman as well as music from Talking Heads, De La Soul, Odyssey, Liquid Liquid, the Beastie Boys, and Antonio Vivaldi.
The casting by Sarah Finn and Chris Zaragoza is marvelous as it features notable small roles from Angourie Rice as classmate/school reporter Betty Brant, Hannibal Burress as the gym teacher who is convinced that Parker is a murderer, J.B. Smoove and Martin Starr in their respective roles as Parker’s teachers Julius Dell and Roger Harrington who side with him, Paula Newsome as a MIT administrator Parker is trying to meet for Ned and MJ, Arian Moayed as a government official who interrogates Parker and his friends/associates, Mary Rivera as Ned’s Lola who has a hilarious interaction with a couple of characters in a key scene, Tony Revolori as classmate Flash Thompson who tries to use Parker to sell a book as a way to suck up to Parker while sporting a hilarious new look, and Benedict Wong as Wong who warns Strange about the spell he is to cast as he is trying to clean-up the Sanctum Sanctorium and do his duties as the Sorcerer Supreme. Rhys Ifans and Thomas Haden Church are terrific in their respective roles as Dr. Curt Connors/the Lizard and Flint Marko/the Sandman as two villains who aren’t sure about Parker’s plans with Dr. Connors being unwilling to be cured and Marko unsure if he can be redeemed.
J.K. Simmons is fantastic as J. Jonah Jameson as the host of the controversial news organization The Daily Bugle who is convinced that Spider-Man is a villain as he spreads a lot of fake news and is willing to incriminate Spider-Man any way he can. Jon Favreau is excellent as Happy Hogan as the head of security for Starks Industries who helps out Parker and May while letting him live at his apartment as he is in love with May. Marisa Tomei is amazing as Parker’s aunt May as she is someone who is aware of what is going on as well as what Parker is trying to do knowing that these men aren’t bad while giving her nephew some important lessons on responsibility knowing that he is just trying to redeem himself. Jamie Foxx is brilliant as Max Dillon/Electro as a former Oscorp engineer who is given electric powers where his arrival gives him a more normal look as he has his own issues while is intrigued by the idea of having more power to use. Jacob Batalon is incredible as Ned Leeds as Parker’s best friend who is trying to help him in figuring things out as well as being one of the few who knew about Parker’s identity.
Zendaya is remarkable as MJ who is Parker’s girlfriend who is one of the few that knows his identity as she is also aware of what he’s doing while also making some funny comments including some towards Doctor Strange. Benedict Cumberbatch is great as Doctor Steve Strange as a master of the mystic arts who agrees to help Parker while dealing with the severity of the spell he created as he is also unconvinced that the villains in the universe can change. Alfred Molina and Willem Dafoe are phenomenal in their respective roles as Doctor Otto Octavius/Doctor Octopus and Dr. Norman Osborn/the Green Goblin as two villains who both have issues with Spider-Man as the former is someone who is the first to realize something is up while is unconvinced that he can be cured while the latter is more convinced despite his bipolar personality where he acts evil as both Molina and Dafoe bring a lot more nuances to their characters as well as showcase why they were among the best villains in the Spider-Man film series.
Finally, there’s Tom Holland in a spectacular performance in the titular role/Peter Parker as the young superhero who deals with the consequences of his actions as he tries to fix them only to make things worse while wanting to do what he can to help everyone. Holland adds this maturity to a character that is in transition from being a young man to becoming an adult as he deals with his actions but also what he has to do to be a hero as it is his best performance as the famed web-slinger.
Spider-Man: Now Way Home is a sensational film from Jon Watts that features a tremendous leading performance from Tom Holland. Along with an ensemble cast for the ages, dazzling visuals, a mesmerizing music score, themes on responsibility and redemption, and action set pieces including an unforgettable climax that manages to do so much more in its grand scale. The film isn’t just one of the best entries in the Spider-Man film series and its related franchises but also a superhero film that isn’t afraid to tackle major themes while also being ambitious with a story that is grounded in reality and its exploration of human nature. In the end, Spider-Man: No Way Home is a spectacular film from Jon Watts.
Jon Watts Films: (Clown (2014 film)) – Cop Car
Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Into the Spider-Verse - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man and the Wasp - Captain Marvel - Avengers: Endgame - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow - Shang-Chi and the Legend of the Ten Rings
- Eternals - Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels - (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
© thevoid99 2021
Written, directed, and narrated by Peter Bogdanovich, The Great Buster: A Celebration is a documentary film that explores the life, career, and influence of silent film star/filmmaker Buster Keaton. Featuring interviews from various filmmakers, historians, actors, and comedians, the film follows the man’s life as well as his struggles to be relevant when silent films ended as well as the long overdue adulation he would ultimately receive before his passing in 1966 at the age of 70. The result is a rich and exhilarating film from Peter Bogdanovich.
In the 1920s, one of the biggest stars of the silent film era was Buster Keaton whose stone-faced look and elaborate approach to physical comedy and action as it would influence many in the years to come. The film explores not just Keaton’s life including his struggles to make movies during the post-silent film era but also in some of his failures he would endure and comeback during the late 1940s. Narrated by its writer/director Peter Bogdanovich who shows a clip of himself on The Dick Cavett Show in the early 1970s with filmmaker Frank Capra as they talk about Keaton’s influence in cinema as other filmmakers ranging from comedy filmmakers like Mel Brooks and Carl Reiner to the likes of Werner Herzog, Quentin Tarantino, and Jon Watts as they all talk about what Keaton brought to the world of cinema. Watts especially as he reveals that Keaton’s stone-faced expression was an inspiration to the look of Spider-Man under his mask in Spider-Man: Homecoming.
The film also goes into depth into Keaton’s personal life through historians and those who knew him including actors Norman Lloyd and Dick Van Dyke while comedian Richard Lewis talks about his friendship with Keaton’s widow Eleanor Norris as she would give him her husband’s famed hat. Actors/comedians such as Cybill Shepherd, Nick Kroll, Bill Hader, French Stewart, and Johnny Knoxville also talk about Keaton’s films and his approach to physical comedy as Knoxville reveals that part of the reasons he created Jackass and its films was to do stupid stunts but also to understand how Keaton was able to perfect the stunts and set pieces he created in his films. Much of the narrative that Bogdanovich creates is largely straightforward but it also play into the decline in his career as it relates to his time working with MGM where Keaton lost a lot of his creative control as several colleagues including Charles Chaplin urged Keaton to not sign with MGM but Keaton ended up taking the advice of those who were managing his business as it ended up being a bad business deal.
After two failed marriages and a career that is nearly dead, it would be his marriage to MGM dancer Eleanor Norris that would help as he would be hired by MGM to write gags and such as well as direct a gag for other filmmakers. The work for MGM and appearances in commercials and television would help revive Keaton’s career and financial fortunes as it would give him a memorable cameo in Billy Wilder’s Sunset Boulevard as well as a memorable appearance in Chaplin’s 1952 film Limelight where the two shared the screen together. Lloyd revealed that Chaplin brought Keaton just to work with him and help him out as they created a great scene while the finale was partially directed by Keaton who helped Chaplin out with the scene. Many also discussed that as great as a filmmaker and physical comedian that Keaton is, some say he is underrated as an actor as historians and filmmakers do feel that Keaton had a lot more to offer. Even in his final years as it play into the films he was doing such as Beach Blanket Bingo as he was dealing with ill health but was enjoying his work.
Much of Bogdanovich’s direction is straightforward in the interviews which were shot with cinematographer Dustin Pearlman as it allow those who are interviewed the chance to be in their own world but also express their love for Keaton. Yet, it is through the footage of Keaton’s films and other archival footage that is the meat of the film with the aid of editor Bill Berg-Hillinger who would cultivate all of the footage including some of the rare TV clips and commercials. One aspect of the film that is crucial to the film are clips from the documentary Buster Keaton Rides Again which was a making-of documentary about a short film Keaton was making as it would be one of his last films. Sound editor David Barnaby would gather some audio archives as well as do some remastering in some of the film clips while music supervisor Chris Robertson cultivates an array of music scores from all of the film that Keaton was in as it help play into the humor and somber aspects of his life.
The Great Buster: A Celebration is an incredible film from Peter Bogdanovich. It’s a documentary that does a lot to explore the genius of Buster Keaton as well as the legacy he’s created in the world of film and the admirers he had gained for many years. Even as it showcases his films and why people love them as well as a look into his struggles after his years of stardom and control had faded away only to regain his dignity and overdue adulation he would receive for his gift. In the end, The Great Buster: A Celebration is a marvelous film from Peter Bogdanovich.
Buster Keaton Films: (The Rough House) – (One Week (1920 Short)) – (Convict 13) – (The Scarecrow (1920 short)) – (Neighbors (1920 short)) – (The Haunted House (1921 short)) – (Hard Luck (1921 short)) – (The High Sign) – (The Goat (1921 short)) – (The Playhouse) – (The Boat) – (The Paleface) – (Cops) – (My Wife’s Relations) – (The Blacksmith) – (The Frozen North) – (The Electric House) – (Day Dreams (1922 short)) – (The Balloonatic) – (The Love Nest) – (Three Ages) – (Our Hospitality) – Sherlock Jr. - The Navigator (1924 film) - Seven Chances - (Go West (1925 film)) – (Battling Butler) – The General (1926 film) - (College (1927 film)) – Steamboat Bill Jr. - The Cameraman - (Spite Marriage) – (The Gold Ghost) – (Allez Oop) – (Tars and Stripes) – (Gland Slam Opera) – (One Run Elmer) – (Blue Blazes) – (Mixed Magic) – (Love Nest on Wheels)
Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) – (Directed by John Ford) – The Last Picture Show - (What’s Up Doc?) – Paper Moon - (Daisy Miller) – (At Long Last Love) – (Nickelodeon) – (Saint Jack) – (They All Laughed) – (Mask (1985 film)) – (Illegally Yours) – (Texasville) – (Noises Off) – (The Thing Called Love) – (To Sir with Love II) – (The Price of Heaven) – (Rescuers: Stories of Courage: Two Women) – (Naked City: A Killer Christmas) – (A Saintly Switch) – (The Cat’s Meow) – (The Mystery of Natalie Wood) – (Hustle (2004 film)) – (Runnin’ Down a Dream) – (She’s Funny That Way)
© thevoid99 2020
Based on the Marvel comics series by Stan Lee and Steve Ditko, Spider-Man: Far from Home is the sequel to the 2017 film Spider-Man: Homecoming in which Peter Parker/Spider-Man deals with the aftermath of the Infinity Wars as he struggles with expectations of being a superhero while wanting to be a normal teenager who goes to Europe with his friends as they encounter mysterious beings known as Elementals. Directed by Jon Watts and screenplay by Chris McKenna and Erik Sommers, the film is the final film of the Infinity Saga of the Marvel Cinematic Universe as Parker copes with its aftermath as he teams up with S.H.I.E.L.D. and Quentin Beck/Mysterio to face off against the Elementals in Europe as Tom Holland reprises his role as Peter Parker/Spider-Man with Jake Gyllenhaal as Quentin Beck/Mysterio. Also starring Zendaya, Cobie Smulders, Jacob Batalon, Angourie Rice, Tony Revolori, Martin Starr, Marisa Tomei, Jon Favreau, J.B. Smoove, and Samuel L. Jackson as Nick Fury. Spider-Man: Far from Home is an adventurous and riveting film from Jon Watts.
Five years after the events where people had disappeared only to reappear suddenly five years later known as the Blip, Peter Parker goes to Europe for a school trip with friends as he is hoping to woo a classmate yet they would all encounter mysterious beings known as Elemental as Parker is aided by S.H.I.E.L.D. and a hero named Quentin Beck/Mysterio who claims to be from an alternate version of Earth. It’s a film that play into events where Parker has to once again put on the suit and other variations of the suit to fight against these mysterious beings yet is overwhelmed with his duties as he just wants to be a normal teenager. The film’s screenplay by Chris McKenna and Erik Sommers follow the events of the Blip where kids who didn’t die of the Blip would deal with those who survived the Blip as they have age better as well as be more mature. It’s a new reality that some of Parker’s classmates such as Ned (Jacob Batalon), MJ (Zendaya), Betty (Angourie Rice), and Flash (Tony Revolori) are dealing with as Parker’s attempts to woo MJ is being challenged by another classmate in Brad Davis (Remy Hii).
The first act isn’t just about this new reality and Parker’s trip to Europe but also the overwhelming expectation of taking on the mantle as the new Iron Man as Parker isn’t sure if he wants to follow in Tony Stark’s footsteps. Upon arriving in Venice, Italy after blocking phone calls from Nick Fury, Parker finally meets with Fury after an incident involving a water Elemental where Parker would also meet Mysterio. The script does play into Parker’s resistance to help out as well as Fury’s increasing paranoia over what is happening while Beck acts as a mediator of the two while helping Parker dealing with growing pains. Beck is a fascinating figure as someone who has these mysterious powers to fly while wearing a fishbowl helmet to help unleash his powers against the Elementals. There is also some intrigue about Beck during the second act in why he’s so powerful as he and Parker work with each other during a mission in Prague as it would also involve a few of Parker’s classmates including MJ who would make a major discovery about the Elementals. The film’s second half doesn’t just play into some revelations over what MJ found but also a pair of glasses called E.D.I.T.H. (voice of Dawn Michelle King) Parker would inherit from Tony Stark that reveals a lot of information including some insight about the Elementals. The script doesn’t just play up the stakes of what Parker is facing but also so much more that would alter his own reality.
Jon Watts’ direction does have some elements of style but much of its compositions and setting are grounded in reality and remains straightforward. Shot on various locations in Prague, London, Berlin, Croatia, and parts of New York City and Newark, New Jersey, the film does showcase Spider-Man being part of a world that is bigger where Watts allows Parker to feel overwhelmed by his surroundings as he just wants to be the friendly neighborhood Spider-Man from Queens New York. The new surroundings that Parker encounters does allow him to find new ways to face off foes as well as save people as he is aware of his role but the monumental power of the Elementals isn’t enough for him to save people which is why Beck is there to help him. Watts’ direction has a looseness in terms of what Parker and his friends are doing in Europe including some moments of humor that includes a subplot of Ned and Betty being a couple as well as one of the chaperones in Julius Dell (J.B. Smoove) believing that all of these Elementals appearing are from some source of witchcraft.
Watts’ usage of wide and medium shots manage to get great coverage of the locations and its sense of geography of where the Elementals would pop up but there are also some close-ups and moments that is more about characters interacting as well as developing relationships such as the one between Parker and MJ. The film’s third act with its grand set pieces and revelations about who is the mastermind of the Elementals as well as that person’s motivations does add a lot of intrigue as well as these moments that are thrilling and exciting. Even as it add to the stakes of what Parker is facing as well as what he would have to endure in the aftermath as it play into what is to come for Parker and other allies along with a few twists of those Parker would encounter. The film also has Watts relying on past films that add to the dramatic revelations in the third act as it all play into Parker trying to live up to someone’s legacy when he just needs to be himself. Overall, Watts craft an exhilarating and evocative film about a young superhero dealing with mysterious forces as well as expectations to be the next big superhero.
Cinematographer Matthew J. Lloyd does brilliant work with the film’s cinematography as it is largely straightforward to play into the different colors of the cities that the characters go to including some of the neon lights at night for the carnival at Prague. Editors Dan Lebental and Leigh Folsom-Boyd do excellent work with the editing as it is straightforward with some stylish cuts for the action including moments where let shots linger on to establish what is happening. Production designer Claude Pare`, with supervising art directors Grant Armstrong and Jann K. Engel plus set decorators Tina Jones and Delia Picirilli, does amazing work with the look of some of the places the characters go to including the dilapidated hotel in Venice, the opera house in Prague, and a few other places in and around Europe. Costume designer Anna B. Sheppard does nice work with the costumes as it is largely straightforward with the exception of Mysterio’s costume and the variation of Spider-Man’s suits.
Hair/makeup designer Peter Swords King does fantastic work with the look of Beck as well as the new beard that Happy Hogan has. Special effects supervisors Roy K. Cancino, Pasquale Catalano, and Andy Williams, with visual effects supervisor Janek Sirrs, do incredible work with the film’s visual and special effects with the design of Mysterio when he’s flying as well as the Elementals and a sequence that play into the idea of reality and fantasy. Sound designers Chris Diebold, Andy Sisul, and Steven Ticknor, with co-sound editor/re-recording mixer Tony Lamberti, do superb work with the sound as it play into the effects of how the Elementals sound as well as some gadgets and how music is presented on a location or at the carnival in Prague. The film’s music by Michael Giacchino is great as it features some flourishing orchestral themes and some somber pieces as it help play into the drama and sense of adventure Parker would endure while music supervisor Dave Jordan creates a fun music soundtrack that feature an array of music from Whitney Houston, Umberto Tozzi, the Go-Gos, the Jam, the Specials, Caterina Valente with Werner Muller and his Orchestra, Mina, Marcela Laiferova, Flipbois, the Matadors, AC/DC, and the Ramones.
The casting by Sarah Finn, Jina Jay, and Maya Kvetny is wonderful as it feature some notable small roles and appearances from Numan Acar and model Toni Garrn as a couple of S.H.I.E.L.D. agents, the quintet of Zach Barack, Zoha Rahman, Yasmin Mwanza, Joshua Sinclair-Evans, and Tyler Luke Cunningham as classmates of Parker’s who are part of the European trip, Jorge Lendeborg Jr. as Betty’s fellow school newscaster Jason Ionello, Peter Billingsley as a former Stark tech employee in William Ginter Riva, Dawn Michelle King as the voice of the A.I. glasses tech E.D.I.T.H., and Remy Hii as Parker’s rival for MJ’s affections in Brad Davis as a kid who survived the Blip to go from nerd to hunk as he would endure some funny moments. Martin Starr and J.B. Smoove are terrific in their respective roles as the school chaperones in the academic decathlon teacher Mr. Harrington and Mr. Dell as the former is baffled by the upgrades he received while the latter believes these events are from some form of witchcraft.
Tony Revolori and Angourie Rice are superb in their respective roles as Flash Thompson and Betty Brant as two of Parker’s classmates as the former is hilarious in his attempts to film everything for his vlog while the latter finds herself in a European romance with Ned that provides some sweet and funny moments. Jacob Batalon is fantastic as Ned as Parker’s best friend who finds himself in a romance with Betty while being one of the few to know Parker’s true identity as Spider-Man. Marisa Tomei and Cobie Smulders are excellent in their respective roles as Aunt May Parker and S.H.I.E.L.D. agent Maria Hill as the former is helping others who were killed by the Blip and later revived find new homes while the latter helps out Fury with the growing threat as well as be a voice of reason.
Jon Favreau is brilliant as Happy Hogan as Tony Stark’s bodyguard/Parker’s aide who watches over him as he understands what Parker is dealing with while he has a funny subplot as it relates to a possible relationship with Aunt May. Zendaya is amazing as Michelle “MJ” Jones as Parker’s classmate who is often filled with sarcasm and witty humor which is a disguise of sorts for her own shyness while being someone who gets to know Parker as well as make key discoveries over the Elementals and where they come from. Samuel L. Jackson is marvelous as Nick Fury as the head of S.H.I.E.L.D. who is asking for Parker’s help as other members of the Avengers and fellow allies are unavailable as he is asking a lot from Parker while also acting more paranoid than usual.
Jake Gyllenhaal is incredible as Quentin Beck/Mysterio as this man from an alternate version of Earth who is battling the Elementals as he has powers but is also trying to help Parker with growing pains as there’s also many layers to what Gyllenhaal brings to the character that makes him a total standout in the film. Finally, there’s Tom Holland in a remarkable performance as Peter Parker/Spider-Man as someone that is trying to retain his youth and wanting a break from being a superhero as he copes with not just loss and responsibility but also the need to be someone he’s not as Holland brings that grounded realism to the performance but also a youthful exuberance that is Peter Parker and showcase who Spider-Man really is as someone that understands his role and what he needs to be for himself.
Spider-Man: Far from Home is a sensational film from Jon Watts that features top-notch performances from Tom Holland, Jake Gyllenhaal, Samuel L. Jackson, and Zendaya. Along with its ensemble cast, dazzling visuals, amazing visual effects, a soaring music score, a fun music soundtrack, and a story about expectations and responsibility. The film isn’t just another winning entry in the Spider-Man story but it also serves as a fitting touchstone for the Infinity Saga storyline of the Marvel Cinematic Universe as well as set up for new adventures to come. Even as the film manages to be a lot of things but also so much more than just a typical superhero film but also a film about growing pains and responsibility. In the end, Spider-Man: Far from Home is an incredible film from Jon Watts.
Jon Watts Films: (Clown (2014 film)) – Cop Car
Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Into the Spider Verse - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Captain America: The Winter Soldier - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Spider-Man: Homecoming - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man and the Wasp - Captain Marvel - Avengers: Endgame
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2019
Based on the Marvel comics series by Stan Lee and Steve Ditko, Spider-Man: Homecoming is the story of Peter Parker dealing with his life in high school as he’s part of a decathlon team while trying to learn the ropes in being a superhero as he faces off against a mysterious enemy who has a grudge against towards Tony Stark. Directed by Jon Watts and screenplay by Watts, Jonathan Goldstein, John Francis Daley, Christopher Ford, Chris McKenna, and Erik Sommers from a screen story by Goldstein and Daley. The film is an exploration of Peter Parker trying to be Spider-Man due to the new suit he’s given created by Tony Stark as he also deal with the bad guys as Parker/Spider-Man is played by Tom Holland and Stark/Iron Man is played by Robert Downey Jr. Also starring Zendaya, Marisa Tomei, Jacob Batalon, Laura Harrier, Angourie Rice, Tony Revolori, Tyne Daly, Donald Glover, Jon Favreau, and Michael Keaton as Adrian Toomes/Vulture. Spider-Man: Homecoming is an exhilarating yet whimsical film from Jon Watts.
Set two months after working with Tony Stark in dealing with Captain America, Peter Parker deals with a new enemy while trying to be a regular kid as he struggles to balance his role as himself and Spider-Man. It’s a film with a simple story as it shows Parker adjusting to the new suit he’s given created by Stark as he wants to be part of Stark’s inner circle and hopefully become part of the Avengers. Yet, he would encounter a series of strange events involving a man named Adrian Toomes who lost his job in collecting scraps for money as he seeks revenge on Stark by stealing the Chitauri technology that happened during the Avengers’ first battle with them some years ago. The film’s screenplay doesn’t just explore Parker trying to maintain his identity a secret but also wanting to find out more about these arm deals as he tries to contact Stark and Stark’s longtime assistant Happy Hogan (Jon Favreau) about his discoveries.
The screenplay doesn’t just explore Parker trying to balance that life of superhero and as a normal teenager being part of the school’s decathlon team. It’s a script that also explore growing pains as Parker is eager to prove to Stark that he can be part of the Avengers but he’s only a 15-year old sophomore that is dealing with all of the things in high school. The only other person that knows his identity as Spider-Man via accident is his best friend Ned (Jacob Batalon) who would keep asking questions but also would make some discoveries of the suit. Much of the film’s first act is about Parker trying to prove his worth in his discovery of the weapons deal and his first encounter with Toomes’ secret identity in Vulture. There are also these little moments of Parker dealing with high school life as he’s falling for the popular senior Liz (Laura Harrier) as well as bearing the verbal humiliations of the popular nerd Flash Thompson (Tony Revolori) and witty comments of Michelle (Zendaya). At the same time, Parker is trying to keep his identity a secret from his aunt May (Marisa Tomei) whom he really cares for and doesn’t want to stress her out.
The film’s second act involves Parker learning more about the Chitauri technology he found during an encounter with some of Toomes’ henchmen as well as Parker attending the national decathlon in Washington D.C. These moments in the second act play into Parker’s development as a character as someone who is very eager to get into these dangerous moments as it can be overwhelming as Stark is constantly watching him in the hope that Parker does better. The film’s antagonist in Toomes isn’t a conventional villain but someone who feels slighted by the system during a prologue where he loses his job as he makes his own discoveries of the Chitauri technology for his own usage. All of what he does is to provide for his own family and he sees Spider-Man and Stark as threats that need to be eliminated.
Jon Watts’ direction definitely has some elements of style as it owe a lot to some of the cinematic style and humor of John Hughes but it also play into the ideas of modern-day society. Shot mainly in Atlanta as the Queens borough in New York City with some shots set in New York City, Washington D.C., and Berlin. The film does play into Parker’s own excitement into being a superhero which starts with this opening sequence of him documenting everything including the events before he was to face Captain America. Yet, Watts would keep the film grounded in reality as it has Parker just trying to explore his new powers through the suit Stark has designed for him as Watts explore the mistakes that Parker would do as it has this very natural approach to the humor. While Watts would use some wide shots for some of the locations, he would favor more intimate shots in the close-ups and medium shots to play into Parker trying to be just a regular kid as it include some comical moments as well as a few dramatic moments.
The direction has Watts create some intense moments involving the action that includes this massive set piece in a ferry where Spider-Man battles the Vulture and gets himself into trouble where it is an ode to films of the past but also become this key moment that would make Parker realize how over his head he’s in. It has Watts maintain some grounding into the growing pains that Parker is dealing with where as much as he wants to be a superhero, save the world, and do good. He’s still a young kid with so much going for him as he also needs time to be a kid as it’s something he needs to fight for against someone like Toomes/Vulture who has his own reasons to fight which is for the well-being of his family. Overall, Watts creates a fun yet engaging film about a young kid becoming a superhero and learn what it means to be one.
Cinematographer Salvatore Tino does excellent work with the film’s cinematography as it has a lot of gorgeous colors for many of the locations in the daytime with unique lighting moods for the scenes at Toomes’ workshop. Editors Dan Lebental and Debbie Berman do fantastic work with the editing with its usage of jump-cuts, montages, and other stylish cuts to play into the action and humor. Production designer Oliver Scholl, with supervising art director Brad Ricker plus set decorators Lauri Gaffin and Gene Serdena, does superb work with the look of Toomes’ workshop as well as the interior of the schools and some of the places Parker goes to. Costume designer Louise Frogley does brilliant work with the look of the Spider-Man suit as well as the clothes Parker wears casually as well as the clothes of his classmates.
Visual effects supervisors Theodore Bialek, Doug Spilatro, and Dominik Zimmerle do amazing work with the visual effects from the way Spider-Man would use his webs to move around or the way some of his tech would appear as well as some of the scenes involving Vulture. Sound editor Steve Ticknor, with sound designers Tony Lamberti and Eric A. Norris, does terrific work with the sound in capturing some of the atmosphere of the few parties that Parker goes to as well as some of the massive action sequences at the Washington monument and in the film’s climax. The film’s music by Michael Giacchino is great as it features this soaring orchestral score that plays into the action and humor with some very melodic themes while music supervisor Dave Jordan provides a fun soundtrack with music from the Rolling Stones, Spoon, the Ramones, the English Beat, Yello, A Flock of Seagulls, Traffic, and a few other tracks from hip-hop, EDM, and indie artists.
The casting by Sarah Finn is incredible as it feature some notable small roles and appearances from Kerry Condon as the voice of Iron Man’s AI F.R.I.D.A.Y., Jennifer Connelly as the voice of the A.I. in Spider-Man’s suit, Garcelle Beauvais as Liz’s mother, Hemky Madera as a local bodega owner that Parker knows, Logan Marshall-Green as a henchman of Toomes, Martin Starr as the decathlon coach/teacher, Hannibal Burress as the school gym teacher, Kenneth Choi as the school principal, Angourie Rice as the school news reporter Betty Brant, Tiffany Espensen as one of Parker’s decathlon teammates in Tiffany, Bokeem Woodbine as a henchman of Toomes in Herman Schultz who would also be known as Shocker, and Tyne Daly as a U.S. department head for damage control who would ruin Toomes’ life. Tony Revolori is terrific as Parker’s high-school nemesis Flash Thompson as he’s this rich nerd that likes to verbally humiliate Parker as he is quite funny while Laura Harrier is wonderful in a somewhat underwritten role as Parker’s love interest Liz who is baffled by why Parker never shows up for things.
Donald Glover is superb as the criminal Aaron Davis as a guy trying to buy the weapons Toomes is selling as he realizes something isn’t right where he would provide some information to Spider-Man later on. Zendaya is fantastic as Michelle as a classmate of Parker who is this quiet observer that makes some very snarky comments as she provides a lot of the film’s funnier moments. Jacob Batalon is excellent as Ned as Parker’s best friend who is one of the few people that knows about Parker’s identity as Spider-Man as he provides some funny moments as well as be useful for the film’s third act. Jon Favreau is brilliant as Happy Hogan as Stark’s bodyguard who watches over Parker as he is annoyed by Parker calling him for any special assignments. Marisa Tomei is amazing as May Parker as Peter’s aunt who is wondering what her nephew is doing as well as helping him with some of his growing pains.
Robert Downey Jr. is marvelous as Tony Stark/Iron Man as Parker’s mentor who is trying to make sure that Parker is being responsible as he’s dealing with his own things as he knows when he has to step to lecture Parker. Michael Keaton is remarkable as Adrian Toomes/Vulture as a scrap-metal collector who loses his job due to Stark as he would steal and use Chitauri technology to create weapons as a way to give himself and his family the life they wanted as it’s a role with some charm as Keaton doesn’t make him a total villain but someone that is determined to do whatever to protect his family. Finally, there’s Tom Holland in a phenomenal role as Peter Parker/Spider-Man as a 15-year old kid that is trying to deal with the gifts he’s given as well as try to be a normal kid as Holland has this air of exuberance and humility that provides the right balance to play both Parker and Spider-Man in making him vulnerable but also provide the maturity he would gain later on in becoming the superhero.
Spider-Man: Homecoming is a sensational film from Jon Watts that features great performances from Tom Holland, Michael Keaton, and Robert Downey Jr. Along with its amazing ensemble supporting cast, thrilling action sequences, and the need to not take itself seriously or rehash anything previous films about the character that audiences already knew. It’s a film that knows what it needed to do while providing something fresh to the beloved character in a setting that isn’t explored and have fun with it. In the end, Spider-Man: Homecoming is an incredible film from Jon Watts.
Jon Watts Films: (Clown (2014 film)) – Cop Car
Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Into the Spider-Verse - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)
Marvel Cinematic Universe: Infinity Saga: Phase One: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers
Phase Two: Iron Man 3 - Thor: The Dark World - Thor: The Dark World - Guardians of the Galaxy - The Avengers: Age of Ultron - Ant-Man
Phase Three: Captain America: Civil War - Doctor Strange - Guardians of the Galaxy Vol. 2 - Thor: Ragnarok - Black Panther - Avengers: Infinity War - Ant-Man & the Wasp - Captain Marvel - Avengers: Endgame - Captain Marvel - Spider-Man: Far from Home
Multiverse Saga: Phase Four: Black Widow (2021 film) - Shang-Chi and the Legend of the Ten Rings – Eternals – Spider-Man: No Way Home – Doctor Strange in the Multiverse of Madness – Thor: Love and Thunder – Werewolf by Night - Black Panther: Wakanda Forever - The Guardians of the Galaxy Holiday Special
Phase Five: Ant-Man & the Wasp: Quantumania - Guardians of the Galaxy Vol. 3 – The Marvels – (Deadpool & Wolverine) - (Captain America: Brave New World) - (Thunderbolts*)
Phase 6: The Fantastic Four: First Steps - (Avengers: Doomsday) - (Avengers: Secret Wars)
Related: MCU is Cinema: Pt. 1 - Pt. 2 - Pt. 3 – Pt. 4 – (Part 5) – (Part 6) – (Part 7) - The MCU: 10 Reasons Why It Rules the World
© thevoid99 2017
Directed by Jon Watts and written by Watts and Christopher Ford, Cop Car is the story of two boys who find an abandoned police car as they take it for a joyride unaware that they’re being pursued by its owner and what is in the car. The film is a look into a simple joy ride that suddenly becomes a cat-and-mouse game between a cop and two mischievous boys. Starring Kevin Bacon, James Freedson-Jackson, Hays Wellford, Camryn Manheim, and Shea Whigham. Cop Car is an offbeat yet gripping film from Jon Watts.
The film is the simple story of two runaways who find an abandoned police car where they take it for a joyride only to later get in trouble with a corrupt sheriff who is trying to find the car and what is in in the trunk. The simplicity of the story as well as the minimalist approach that Jon Watts and Christopher Ford would use to tell the story with their script makes it far more intriguing as it play into the suspense where this sheriff would try and find his car while these two boys are just driving around the town not knowing what they’re doing as they would eventually discover what is in the trunk. There is also a subplot in which a woman would see the two boys as she wondered if what she sees is true as it creates more intrigue. The script also doesn’t feature a lot of dialogue as it maintains that sense of minimalism where it’s more about behavior and strategy as it leads into this chilling climax.
Watts’ direction is quite mesmerizing as it is set in Colorado though it feels like it could be set or shot anywhere in the American West. Watts’ usage of the wide and medium shots play into the locations while using the latter as well as some close-ups for the intimate moments in the film. Especially where the close-ups add to the moments of suspense and some of the drama while Watts would create different versions of how the boys found the car and where was the sheriff when he abandoned it as it is among the fascinating moments in the first act. Watts’ direction also has this great usage of silence in the way the sheriff conducts himself as it is clear that he is quite evil but also unhinged as one of the few people he communicates with is a dispatcher. The scenes involving the boys are more lively for the first half of the film but then becomes serious in the second act as what they would discover in the trunk but also be reached by the sheriff through his radio. Its climax isn’t just chilling but also a moment where this innocent joyride the boys took into this stolen car would take an extremely dark turn. Overall, Watts creates a riveting yet intense film about two boys stealing an abandoned cop car.
Cinematographers Matthew J. Lloyd and Larkin Seiple do excellent work with the film‘s cinematography from the usage of the vast locations and natural lighting for the scenes in the day as well as the more eerie images set in the evening and at night. Editors Megan Brooks and Andrew Hasse do fantastic work with the editing as it is very straightforward yet knows when to cut at the right moment to help play into suspense. Production designer Michael Powsner and art director Nate Oldham do nice work with the look of the sets from the home of the sheriff to some of the small bits of the cop car‘s interiors. Costume designer Ruby Katilius does terrific work with the costumes as it is mostly casual for the characters.
Special effects makeup designer Midian Crosby does brilliant work with the look of a character in the film that seems to have some issues with the sheriff. Visual effects supervisor Aleksandr Djordjevic does wonderful work with the visual effects as it is mostly bits of set-dressing for some of the film‘s climax. Sound editor Paul Hsu does superb work with the sound in the way gunfire sounds as well as some of the sparse moments in the film. The film’s music by Phil Mossman is brilliant for its low-key score with its mixture of somber piano-based music with elements of folk to play into that feel of the American West while music supervisor Mark Wike provides a low-key soundtrack of rock and country music.
The casting by Craig Fincannon and Lisa Mae Fincannon is great as it features a voice cameo from Kyra Sedgwick as the police dispatcher as well as terrific small roles from Camryn Manheim as a woman named Bev who witnesses the boys driving the cop car and Shea Whigham as a beaten-down man who has a grudge towards the sheriff. Kevin Bacon is amazing as Sheriff Kretzer as a corrupt sheriff who accidentally leaves his car as he has something in its trunk where he tries to retrieve while being very slimy in the way he communicates with the boys through the radio. Finally, there’s the duo of James Freedson-Jackson and Hays Wellford in their respective roles as Travis and Harrison as two mischievous boys who like to cause trouble as they steal a car where they just have this sense of energy into their roles that feels real as well as display that sense of fear into the situation they’re in as they are major highlights of the film.
Cop Car is an incredible film from Jon Watts. Featuring a great cast, a simple yet effective premise, and gorgeous images, it is a film that bends genres in some ways but also goes for that less-is-more mentality in telling a story that is just fascinating as well as engrossing. In the end, Cop Car is a phenomenal film from Jon Watts.
Jon Watts Films: (Clown (2014 film)) - (Spider-Man: Homecoming) - (Spider-Man: Far from Home) - Spider-Man: No Way Home
© thevoid99 2016
