Tag Archives: Tom Holland

“SPIDER-MAN: HOMECOMING” Review (✫✫1/2)

The spectacular Spider-millennial.

In the day and age of the modern superhero, Spider-Man has always been for fans of many ages. The Tobey Maguire movies were for the adults, while the Andrew Garfield movies were for teenagers. The third actor to reboot the franchise for the second time in less than 10 years, Tom Holland now swings into theaters with Spider-Man: Homecoming, a version that’s sillier, more lighthearted, and definitely aimed at the kiddos. You’re welcome to read that as either a compliment or a criticism. 

After tussling with Captain America and crew in Captain America: Civil War, Peter Parker (Tom Holland) is sent back to Queens by Tony Stark (Robert Downey Jr.), who says he’ll call him when he’s ready for his next mission. Two months later, Parker is still sifting through boring high school life as he continues to go to class, get picked on by bullies, blush around cute girls, and wait eagerly for the school day to end. When the bell finally does ring and he’s out of school, he rushes towards the closest street alley he can find, suits up in his nifty new suit designed by Stark, and swings into action as your friendly neighborhood Spider-Man.

The first thing I want to point out here is that I like Tom Holland a lot. Perhaps more than any actor before him, Holland embodies the characteristics of both Peter Parker and Spider-Man to a “T.” Peter’s social awkwardness and nerdiness, his integrity and good intentions, his black-and-white sense of morality and how he wants to make the world a safer place. When he’s out of the suit, Holland is required to portray the adolescent teenager, whose biggest challenges are passing your classes and talking to your high school crush. Holland is down-to-earth and believable in the role and very much feels like the most grounded Peter Parker to date. In the company of Maguire and Garfield, that is no small feat to accomplish.

Of course, Holland is also expected to play Spider-Man as well, and he exercises surprising finesse when he puts on the mask. There was one scene in the movie where a bystander spots Spidey on a rooftop, and he asks him to do a backflip, to which Spidey complies. Knowing that his acrobatics is what helped Holland land the role in the first place, I knew that it was very possible that he performed the stunt on his own, and he didn’t need wire support to do it. Embodying that kind of physicality for the role is what makes him fitting for Spider-Man, and seeing him physically take on the same challenges as the web-slinger puts the audience in Holland’s shoes, making the action feel more immediate and immersive.

Holland was great as Spider-Man in Captain America: Civil War, and he’s just as great as him here. There’s one problem though: Holland is only half of the equation. The other part comes with the director in how he thinks the character should be portrayed. This is where things start getting sticky, because I don’t think director Jon Watts knew exactly how to handle Spider-Man’s second reboot and make him different from previous counterparts. It’s understandable, I suppose. The Maguire and Garfield movies both had their serious and lighthearted moments, and to make Holland stand apart from them might have been challenging without seeming like he was copying other filmmaker’s ideas.

Still, you have to stay true to the character, and there are some changes to Spider-Man here that just plain doesn’t make sense. In one chase scene, Spider-Man is after a getaway van with a pair of weapons dealers in it, and the action feels so clumsy that it comes off as slapstick. Spidey is being dragged along the floor, banging against garbage cans and mailboxes, web-slinging over buildings, crash-landing into pools, and at one point even playing fetch with a dog. The scene felt so removed from the acrobatic action that I’m used to that for a second I felt like I was watching a Looney Tunes cartoon rather than a Spider-Man movie.

Also, I hate that Iron Man is in this movie. Hate, hate, hate it. He’s not in the movie much, unlike the trailers will have you believe, but in the scenes that he is in he immediately takes control and switches focus away from Holland’s Spider-Man. In every moment that Spider-Man is in trouble, Iron Man swoops in to save the day. He falls into a lake, Iron Man saves him. A ship is splitting apart, Iron Man saves him. Imagine if another hero just swept in when Maguire was stopping the train in Spider-Man 2, or when Garfield dived to save falling bystanders off of a bridge in Amazing Spider-Man. Heroes have to answer for their choices and consequences in their stories, and Peter isn’t allowed to experience either in Homecoming. Tony didn’t have a “get out of jail free card” when he was stuck in a terrorist hellhole in Iron Man. Spidey doesn’t deserve a crutch just because he’s 15 years old.

Everything else from the movie is functional and little else. The writing is uninspired and demonstrates why having a large writing team doesn’t always equal better content (Homecoming had six writers, including Watts). The score by Michael Giacchino is fun and upbeat, but lacks the dramatic overtones that is prevalent in his previous compositions. And the visual effects are… inconsistent. Some parts look amazing, like when Spidey and the super villain Vulture (Michael Keaton) are fighting on top of the Staten Island Ferry. Other times they can’t close a door without looking like it’s from a video game. I remind you that Marvel just made one billion dollars from Captain America: Civil War last year, and this is their follow-up.

In the end, Spider-Man: Homecoming is fun but forgettable. It isn’t unique when it comes to its MCU peers, which is a shame because Spider-Man has many unique elements regarding his story. His immature, reckless use of his powers, the ironic tragedy surrounding his choices, his loyalty to the loved ones he cares about, the idea that even small people can become big heroes. All of that is shoved to the side in the place of cartoonish action where our young hero zips, zooms, and trips over himself when he doesn’t have a responsible adult to chaperone him. This was supposed to be a triumphant return to form for the character: his homecoming. Ha. More like the player’s bench.

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“CAPTAIN AMERICA: CIVIL WAR” Review (✫✫✫✫)

A war of humans, not heroes. 

I’m going to make a bold claim here. Captain America: Civil War is the best MCU movie to be made to date.

I know, I know, I’m probably a little overzealous when I say that. Except that I’m not. I’m fully aware of what its competition is. There are two other Marvel movies that I can compare Captain America: Civil War with. Those two are Iron Man and The Avengers. All three of them are exciting, suspenseful, nail-biting, eye-widening entertainment that are just as fun and memorable as they are emotional and meaningful. They’re not just great superhero dramas. They’re great human dramas.

But Captain America: Civil War is especially unique to even these entries. How? The biggest reason is because it isn’t formulaic. In Iron Man and The Avengers, we had our heroes, our villains, and they went at each other like rock-em sock-em robots. Granted, there’s deeper insight and perspective than just the two-dimensional hero/villain foreplay, but you can’t deny the framework that’s there. There’s a clear cut good guy and bad guy, as there is in most superhero movies.

But that black-and-white sense of morality isn’t well defined in Captain America: Civil War. In fact, there isn’t really an established sense of right and wrong in the picture, just characters whose ideals and values clash violently with each other. You can argue that there is a quote-unquote “villain” in the movie, but he’s more of a viewer than an active participant to the conflict involved. If we have to go by titles in this movie, what we have then is hero against hero, Avenger against Avenger, and friend against friend. The ensuing action is nothing else but thrilling, thought-provoking, mind-blowing, and heartbreaking.

In this sequel to both Captain America: The Winter Soldier and Avengers: Age of Ultron, Steve Rogers, a.k.a. Captain America (Chris Evans) leads a new team of Avengers, consisting of Black Widow (Scarlett Johannson), War Machine (Don Cheadle), Falcon (Anthony Mackie), Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen). After an international event involving the Avengers ends in high casualties, General Thaddeus Ross (William Hurt) and Tony Stark, a.k.a. Iron Man (Robert Downey Jr.) step in to introduce the Sokovia Accords, which states that the Avengers would no longer be a private organization, but instead will be employed and assigned missions by a United Nations panel.

There are two perspectives to the Accords. On one hand, the Accords would give a new level of accountability to the Avengers. They would be restricted in where they could go and what they could do, and the public casualties in turn could be lessened. Plus, the Avengers would now get paid for all of their superheroing. On the other hand, this could put a level of control and interference on the Avengers that would prevent them from doing the most good. Plus, being assigned to report to a panel leaves them vulnerable for manipulation, forcing them to do things that they wouldn’t otherwise.

Iron Man leads the side that’s for the Accords: Cap leads the side that’s against it. But regardless of both sides, there’s another player in the field whose looking to manipulate both sides to his advantage. And neither side realizes it until its too late.

The second Marvel movie to be directed by brothers Anthony and Joe Russo and the fourth to be written by Christopher Markus and Stephen McFeely, Captain America: Civil War is a superhero movie ripe with context, a movie that asks uncomfortable questions that we would much rather remain unanswered. Just like how The Winter Soldier related its plot to today’s world of government control, survaillance, and corruption, Civil War also relates to real-world issues that appeals just as much to reality as they do to fantasy.

Take, for instance, the introduction of the Sokovia Accords. These documents, much like the connection between S.H.I.E.L.D. and H.Y.D.R.A. in The Winter Soldier, presents the theme of government interference and how those implications affect our world. Yes, the Accords would impose an element of control and responsibility over the heroes, but at what cost? This is a situation where civil liberties are being traded for security, and the question is raised on whether its a good trade or not. Juxtaposing this idea of control in between our heroes raises very important questions: questions that are startlingly resemblant of our world abundant with government surveillance and manipulation.

But the movie doesn’t suffer under its philosophical weight. This is still one of those fast-paced, funny, exciting Marvel movies that you’ve come to love. It’s just now a fast-paced, funny, exciting action movie that has deeper insight and drama than the previous entries did. The issues involved draw us deeper into the film’s conflict and to each of the outcomes that these characters face.

There are two of these characters that I haven’t mentioned yet. One of them is the rebooted Peter Parker/ Spider-Man, who is played here by Tom Holland as opposed to the recently discontinued Andrew Garfield. Holland’s appearance in the film is brief yet significant, and while he doesn’t serve a role as important as the others, his charisma, immaturity, and innocent charm makes him for a very entertaining and memorable character, one who sticks out in my mind just as much as Captain America and Iron Man. To be rebooted in just two years time is definitely too soon, and part of me wonders how well Garfield would have done if he had been given the same opportunities as Holland was. That doesn’t take away from the fact that Holland still wins us over and sticks out in our minds just as strongly as Garfield and Toby Maguire does. He makes me very excited to see what’s in store for him for his eventual return in Spider-Man: Homecoming.

The other character is T’Challa, a.k.a. the Black Panther (Chadwick Boseman). If there is a neutral side in this conflict, it is in T’Challa, although at one point he does fight on Iron Man’s team. He’s so great because unlike Iron Man or Cap, his perspective is the most human out of the other players. He is the citizen Cap and Iron Man are fighting to protect. He is the one that faces the most casualty out of any of the other players. This natural perspective into the film is so important, because it demonstrates an investment that isn’t coming from another superhero: it’s coming from the victim of both sides of the conflict. That pain and confusion is so important to understand Captain America: Civil War not just as a Marvel movie, but as a complex drama on its own two legs.

The performances, the action, the visual effects, and the direction all accumulate masterfully, and the Russo brothers demonstrate a better understanding of their characters than they did in Captain America: The Winter Soldier. What we have left, then, is an unchallenged masterpiece, a moral dilemma packaged as a superhero blockbuster that excites us just as much as it challenges us. Iron Man and The Avengers both challenged themselves morally and ethically, but not so much to the point where it’s entire plot was founded around it. There was still a right or wrong in those movies. There isn’t in Captain America: Civil War, and that makes it just as compelling as it is entertaining. The one downside to this film’s success: now the Russo brothers have to follow this up with Avengers: Infinity War. I don’t know how they’re going to do it. I would personally guess that they can’t do it. But I’ve been wrong before.

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