RECENT WATCHES: Spider-Man: Far from Home (2019)

Following the release of “Avengers: Endgame,” the Marvel Cinematic Universe certainly seemed like it had reached its climax. (That this was timed so closely with the death of Stan Lee, the MCU's mascot and the self-proclaimed creator of the comic universe, seems like the most major of cosmic coincidences.) Yet the Disney corporate beast will not be sated until it owns all of popular culture and a proper conclusion is no reason to kill the billion dollar franchise. And so the next phase of Marvel's hugely ambitious cinematic adventure kicks off with “Spider-Man: Far from Home.” It's a smart choice for an opener, considering how well-liked “Homecoming” was, how Spider-Man is one of the few truly iconic Marvel heroes left standing from “Endgame.” Smartly inviting back director Jon Watts, “Far From Home” has been another crowdpleaser from the biggest name in Hollywood superhero theatrics.

Explicitly picking up from “Endgame,” “Far from Home” explores what happened to the world in the aftermath of Thanos' defeat. Millions of people suddenly flashed back into existence, an event called the Blip, at the same age and moment where they left, in a world that has grown five years in their absence. Yet Peter Parker is eager to get back to normal. His high school class is visiting Europe at the end of the semester and he hopes this'll be a break from being Spider-Man. He also hopes that it'll give him time to confess his feelings to Michelle, the quirky classmate he has increasingly romantic feelings for. The world has other plans. With Iron Man gone, Nick Fury is eager to recruit new heroes, like Spider-Man, to protect the world from incoming threats... Such as Elemental entities supposedly from another world. Yet is Mysterio, the survivor of that doomed planet who is warning of the Elementals' arrival, all he claims to be?

While “Homecoming” was a film largely devoted to establishing this version of Peter Parker, to send the young Spider-Man on a quest of self-realization in a sometimes uncertain world, “Far from Home” reflects more explicitly on our own world, here in 2019. This is a film about deception, a “Spider-Man” movie perfect for our era of fake news, deep fakes, and alternative facts. Peter Parker questions his own eyes throughout the film. He questions who he can believe or who he can trust. This is nailed home rather astutely with the post-credit scene, which brings back a familiar face in a more timely guise. And it's cool that “Far from Home” is attempting to discuss these themes, of living in an uncertain world where the concrete morality of reality is constantly denied by those in power. Of course, Marvel/Disney wimps out, painting certain authority figures as ultimately correct, evil acts only being committed by “evil” men. Yet I guess a massive corporation deserves some kudos for even sort-of, kind-of acknowledging these distressing ideas.

This half-assed approach, of wanting to critique our disturbing modern age without actually incriminating those in control, isn't the only thing that miffs me slightly about the latest Spider-Man adventure. The Marvel movies have gotten really, really serialized. “Far from Home” is not just a sequel to “Spider-Man: Homecoming.” It's a direct follow-up to “Endgame,” which was a sequel to “Infinity Wars” and well over a dozen movies. On one hand, it's neat that a Spider-Man movie can reference Doctor Strange or casually include Nick Fury. On the other hand, “Far from Home” lives in the shadow of Tony Stark, the film never going long without his face appearing. Peter Parker feels overwhelmed by the world wanting him to become the next Iron Man. Me, the viewer, also feels overwhelmed by this sequel carrying the weight of so many other movies on it. Can't a Spider-Man movie just be a Spider-Man movie? Must it also be an Iron Man movie, a S.H.I.E.L.D. movie, an Avengers adjacent movie? Must Peter Parker, poor kid from Queens, be casually utilizing high-tech equipment willed to him by a dead billionaire?

More pressing than any of this, “Spider-Man: Far from Home” drags a little in its first half. Anybody who knows anything about comics knows that illusion and deception is Mysterio's entire gimmick. That he's a fishbowled trickster with a fleet of convincing holograms at his disposal. The sequel, at first, treats the villain as if he's a hero. It presents his story of inter-dimensional travel and elemental monsters that threaten the world at face value. Everyone, from Peter Parker to master spy Nick Fury, believes him. (Though the film does eventually justify Fury buying into such an obvious deception.) We savvy viewers know a reveal is forthcoming, making these scenes feel somewhat protracted and listless. Furthermore, Spider-Man feels slightly out of his element exploring Europe. When he gets back to New York at the end, things finally feel balanced again.

Mysterio is one of my favorite Spider-Man villains, a classic bad guy who has long been crying out for a cinematic portrayal. Considering Marvel's frequently revisionist approach to their villains, I was really worried Mysterio would be extensively revamped. No need to fear, it turns out. Though his origin is needlessly linked to Tony Stark, like every MCU villain, Mysterio is otherwise perfectly handled. He cloaks himself in occult symbols, like a crystal ball and the Eye of Horus, but Mysterio is ultimately an egomaniacal conman. Amusingly, the film portrays himself as something like an unhinged movie director. His crew includes a writer, a production designer, effects specialists, and even a costume expert that he brutally orders around. Jake Gyllenhaal, finally in a “Spider-Man” movie after fifteen years, portrays the character's rakish grin while never forgetting the rotten heart that drives him.

Jon Watts' grasp on Spider-Man and his world remain strong. Visually, this is a solid film full of high-flying web slinging. Honestly, sometimes the action scenes are a little too elaborate. Spider-Man weaves some truly complex webs, spinning around Mysterio's drones in a way that's almost too fast to follow. “Far from Home's” visuals truly shine when focusing in on Mysterio's illusions. Once Peter realizes Quentin Beck is tricking him, the film launches into an especially impressive fantasy. Reality shifts around Spider-Man, mirrors reflecting endless copies. The eyes of a giant spider become an army of marching Mysterios. The New York skyline erupts from an earthy graveyard, along with a few Marvel Zombies. Mysterio's huge fist tosses Spider-Man into an uncertain nightmare world. And it's pretty bitchin', everything I've always wanted from a cinematic adaptation of Mysterio.

As satisfying as its villain is, as fun as the action sequences are, maybe the best thing about “Spider-Man: Far from Home” is its perfect supporting cast. Yes, it's a little weird that Happy Hogan is a regular player in Spider-Man movie, more-or-less filling the role of Peter Parker's comic relief sidekick. Yet Jon Favearu is really funny in the part, playing off Peter, Marisa Tomei's Aunt May, and the rest of the cast fantastically. Jacob Batalon as Ned, a highlight from “Homecoming,” gets even more fun stuff to do here as he's throw into a hilariously all-consuming overnight romance with Angourie Rice's Betty Brant. Martin Starr is a little to goofy as the most incompetent of Peter's teachers but he made me laugh a lot, so I can't complain too much.

Especially charming is the growing romance between Peter and Michelle, the MCU's largely unique riff on Mary Jane Watson. Zendaya's hyper-snarky take on the character is often funny in a dry and unexpected way. This contrasts nicely with Tom Holland's utterly sincere Peter Parker. Yet these are still teenagers and they are prone to certain awkwardness. Their courtship hits many bumps, as Peter tries to outsmart a seemingly more charismatic romantic rival. It's really adorable the way the two stammer around each other, clearly interested but a little too shy and inexperienced to outright say the things they are feeling. These small character moments are increasingly becoming the true high points of the Marvel Cinematic Universe brand. Holland and Meechee being such likable performers makes this movie even better than it would've been otherwise.

I didn't like “Spider-Man: Far from Home” as much as I liked “Homecoming,” which is still among my favorite MCU films. (Though “Into the Spider-Verse” might've topped it as the best Spider-Man movie.) It has its strong points, including a fantastic villain, a supporting cast that expertly plays off each other, and some highly entertaining visuals. Yet the script is also somewhat strangled by the needs of the larger cinematic universe, an uncomfortable disconnect between the subtext and reality, and a first act that takes too long to get going. I do appreciate the shout-outs to deeper Spidey lore – such as the rough approximations of obscure villains like Hydro-Man, Molten Man, or Cyclone – though am slightly bummed it'll prevent “real” versions of those characters from appearing later on. That's my geekiness getting in the way of my nerdiness. But, hey, I still had a great time at the movies with this so I can only bitch so much. Marvel's Spider-Man films are still greatly entertaining. [7/10]