SPIDER-MAN: NO WAY HOME

 Tom Holland     Zendaya     Benedict Cumberbatch     Jon Favreau     Marisa Tomei

Jacob Batalon     Alfred Molina     Willem Dafoe     J. K. Simmons     Jamie Foxx

This edition is most remarkable for cleverly integrating past Spider-Man movies and their characters into Spider-Man:  No Way Home.  If a viewer has not seen or can’t remember the past versions, it is easy enough to follow the plot.  However, a much richer experience will be had by those who have kept up with all the versions through the years and recognize all the past characters referenced and the actors who play them.  

The story opens with the chaos caused when Spider-Man’s identity is revealed to be Peter Parker (Holland).  The star broadcaster J. Jonah James (Simmons) at the Daily Fix has seen to that.  The item surfaced when the criminal illusionist Mysterio in his dying breath revealed the identity of Spider-Man, who had just killed him in the previous Spider-Man:  Far From Home (2019).  But now, Mysterio is being made a hero, and Spider-Man  as the presumed villain has to deal with the public rancor that ensues, along with monsters that are suddenly showing up mysteriously on earth.

Peter has sought the help of Dr. Strange (Cumberbatch), who condescendingly agrees to help, but is super-annoyed when Peter keeps interrupting the spell with conditions he thinks of while the spell is being produced.  This has consequences, the extent of which Peter only realizes later, making this something of a coming-of-age story.  It’s going to come home to Peter that gifts he has received come with responsibilities, and the process of learning that is repeated throughout this story line. 

Production of this version of Spider-Man directed by John Watts is engaging in its special effects and script by Chris McKenna and Erik Sommers, based on the Marvel comic by Stan Lee and Steve Ditka.  The cast realizes the action by numerous talented actors:  Tom Holland, Zendaya, Benedict Cumberbatch, Marisa Tomei, Alfred Molina, Willem Dafoe, Jamie Foxx, J. K. Simmons, and others.  All are top-notch.  

Like many films nowadays, judicious editing could have improved the production and reduced it a half-hour to a two-hour limit.  The story bogs down in the middle when one super-human sequence follows another, with technological aspects of filming taking precedence over story and characters.  I’m compelled to reiterate my usual irritation with these movies inevitably ending with a fist fight between two characters followed by tender, emotional scenes meant to pull on the heartstrings.  I like the latter, but why the fist fights when the characters have access to all kinds of technological tools?

 

With such a clever script, this is probably a true gem for Spider-Man and Marvel Comics fans.  For others, it can be mostly entertaining, except for the length.

 

Grade:  B                              By Donna R. Copeland

CHERRY

Tom Holland     Clara Bravo     Jack Reynor

 

            Young Cherry (Holland) is told he popped his cherry the first time he kills someone in the war in Iraq as a soldier.  The film starts when he is in college and feeling aimless, when he becomes smitten with Emily (Bravo).  She has something that always appeals to him (whimsy, sexy, tempting), and they become a pair, and then suddenly she announces she is moving to Montreal.  She wants him to be “adult” about it, but he is crushed.  So crushed he joins the Armed Services, something she never expected, which causes her to change her plans.  They have a torrid romance before he leaves, vowing to stay true to one another.

            The movie has an expected trajectory, and illustrates so well how young people do not/cannot anticipate what is going to happen to them in new ventures.  As is said, “War is hell”, and Cherry is unprepared for the horrors of being a medic.  Soon after he finishes basic training, he is ready to go home; but it will be many months before that day comes.

            In the meantime, he does provide medal-earning service, and arrives home to a new house Emily’s parents helped them obtain.  Things look rosy, except Cherry is having nightmares, night sweats and other symptoms associated with PTSD.  For some reason not explained, he does not get the appropriate help his condition requires, and not only does he start self-medicating, Emily becomes addicted as well.

            It’s predictable what is going to transpire after this.  The couple gets into a heap of trouble, and the only question is whether/how they will pull out of their troubles.

            After helming adventure films such as two Avengers movies and two Captain America movies, I’m puzzled about the Russo family (Anthony, Joe, Angela) turning to a production like Cherry, which is basically a character study, not only of Tom Holland’s character, but also that of Clara Bravo and Jack Reynor.  They fit into stereotypes in the drug world, but for a character study, more filling out of the characters’ psychological make-up is required.  The film would have been much more interesting if even the families of origin for these three would have been explicated.

            Some evidence that the filmmakers intended something of a satire is indicated by various signs we see, such as “Bank of F….. America”, and “Dr. Whomever.”  These seem lame in the background of severe opioid addiction, so it’s hard to see them as funny.  I think inserting these jabs into the seriousness of the story and the main characters is a mistake.

            Tom Holland is an award-winning actor of Spider Man and Avengers fame, and although his character here is decidedly different from those, he is able to show a much more vulnerable man who, nevertheless, is able to slog through diversity.  Supporting him in a perhaps idealistic character is Clara Bravo in an excellent performance representing the female always lovely in her loyalty and care, even with the facial marks of a meth addict.  Jack Raynor envelopes his character as a drug dealer par excellence who never gets the overall picture.

 

The Russos have exceeded their capabilities in their attempt to portray a character with major difficulties coping with real war and its aftermath.

 

Grade:  C                              By Donna R. Copeland

ONWARD

Chris Pratt     Julia Louis-Dreyfus    Octavia Spencer    Tom Holland    Mel Rodriguez

     This is a fun animated movie that kids are likely to love (and some adults too, based on the guffaws I heard at the screening), with a couple of good messages.  Two brothers live with their solicitous mother, getting along fairly well (except maybe for the older one’s bossiness toward the younger, and his chaotic way of dealing with life).  Ian the younger (Holland) is imminently responsible and sincere, but painfully shy and woefully lacking in self-confidence.  His older brother Barley (Pratt) is just the opposite, never fearing where angels fear to tread, knocking things over and getting into trouble everywhere he turns.  But he is good-hearted, and thinks he is doing a yeoman’s job in helping Ian in the father’s absence.  Their mother Laurel (Louis-Dreyfus) does a heroic job in running interference and trying to bolster Ian’s self-image and tame Barley’s dominating bluster.  Just a typical American family, right?

     On Ian’s 16^thbirthday, Laurel presents the boys with a gift from their father he wanted them to have when they’ve both reached age 16.  Come to find out, their father believed in magic, and gave them something that would pass on his love of the craft. Barley is a bit ahead, being familiar with the Quests of Yore fantasy game, so he coaches Ian every step of the way, even through the “Path of Peril”, with many adventures in between. Their quest is to find the Phoenix Gem that will allow their father to visit them for one day.  The quest constitutes the bulk of the movie, which is complicated by Laurel’s need to keep her boys from harm, and in doing so, she enlists the aid of Manticore (Spencer), a good witch.

     There are a number of clever—even funny twists—in the plot, such as a spell that gets interrupted brings only the bottom half of the father back, but still, he is able to impress the boys with his dance steps and witty communication.  Manticore is a hoot in her blustery problem-solving, grand sweeps, and funky dialog.

     Many symbols of magic are sprinkled throughout the story—as in a fantasy game—with the underlying thrust of helping the brothers come of age, Barley in learning the value of wisdom and thoughtfulness and Ian in developing self-confidence. Storytelling is done in such a way that I think kids will get the messages while still being entertained by the animated production.  

     This is typical Pixar, with stunning graphics and a decent story to go with.  It should be popular, but is not likely to make a big splash.

A tale about two brothers and how magic can bring them together and foster their development, overseen by their parents.

Grade:  C+                                    By Donna R. Copeland

SPIES IN DISGUISE

Voices of:  Karen Gillan     Rachel Brosnahan     Tom Holland     Will Smith

Rashida Jones     Ben Mendelsohn     Reba McEntire     DJ Khaled     Masi Oka

     This is a high-tech animation that the kids in the audience found at the screening I attended to be great fun.  There are the obligatory scenes of puke, poop, and pee; but the story has substance in pitting a nerdy little peace-loving scientist against a macho master spy who always insists on doing his jobs alone and “fighting fire with fire.”  The scientist Walter’s (Holland) response to that is, “Then we all get burned.” Writers Brad Copeland and Lloyd Taylor have inserted segments that make you chuckle and sometimes laugh out loud when the character Walter uses scientific lingo that few would understand—least of all, Lance Sterling (Smith)—like “spectral analysis” and “thermography”, and “exothermic reaction.”  Walter always explains what he is doing, and he comes up with ingenious inventions to get Lance out of trouble:  a robotic hand (which has gone missing!), glitter that obscures the visual field, and then produces serotonin when the field clears and kittens appear, making the gnarliest of bad guys go, “Aw…” There’s even something that produces a giant hug that envelops the bad guy and traps him in its bubble.

     The gist of the plot is that the young budding scientist is encouraged by his mother to be himself, and reassures him that they are a team and she will always have his back.  He takes these lessons to heart, and is more than puzzled when his path crosses that of ace spy Lance Sterling, who has a habit of dismissing everyone as beneath him. Because he doesn’t really see anyone besides himself, he misses young Walter’s gifted talents and actively tries to swat him away like a fly.

But there is something that will haunt Lance when he discovers someone has stolen an asset from him, and is even passing himself off as Lance, damaging his reputation.

     The film has a number of good points, especially the one in which children will see Walter’s persistence in the face of dismissal and discouragement, his maintaining his integrity throughout, and ultimately becomes a hero for his intelligence and creativity.  Also helpful for children is for them to witness Lance’s transformation from an over-confident narcissist to someone who is reduced to a pigeon (a pigeon?? Yes!!) and learning that other beings have phenomenal skills too, and that they know how to function in a team.

     Voices of actors like Tom Holland, Will Smith, and Ben Mendelsohn (playing the bad guy) bring excitement and verisimilitude to the story, backed up by the talents of Brosnahan, Jones, McEntire, Khaled, and Oka.  Music by Theodore Shapiro adds much to the drama and humor of Spies in Disguise.

Spies in Disguise is entertaining, and a great film for kids to see.

Grade:  A                                    By Donna R. Copeland

SPIDER-MAN: FAR FROM HOME

Tom Holland    Zendaya    Jon Favreau    Jake Gyllenhaal    Samuel L. Jackson

 Marissa Tomei     Cobie Smulders     Jacob Batalon     Angourie Rice

     At first, it looked like this, the seventh rendition of Spider-Man as the central figure, was going to have a clever twist, and it did for a while, but the follow-through was less inspired. Nevertheless, the action is captivating as usual (except when the battles go on too long), and the special effects are especially grand.  Peter Parker has always been a kind of “aw, shucks” kind of guy, but that trait is more emphasized here—perhaps because he has been charged with an assignment he is not quite ready for, at least in terms of self-confidence and other concerns.  That tendency wears thin over time.

     Peter (Holland) has a burning love interest, and he is beside himself with anticipation for the science trip his class is scheduled to take in Europe, when he plans to romance and declare his feelings for Michelle Jones (“MJ”) (Zendaya). So like many teenagers called to duty, when Nick Fury (Jackson) needs Spider-Man asap, Peter stalls, trying to get out of serving.  

     Hearing more, his enthusiasm for the task waxes and wanes, depending on who is talking to him, and although Fury goes with Peter’s resistance, he has a way of inserting his will at strategic times.  One of the incentives Peter is given is a set of special eyeglasses from Tony Stark that gives him access to technology that he can summon at any time without regard to cost.  Of course, Peter is thrilled; this is something he was yearning for in 2017’s Spider-Man Homecoming, to be Stark’s successor. But, curiously, deep down Peter now feels unworthy of the inheritance.  

     That, coupled with his adolescent passions, causes him to make a decision, the implications of which he is completely unaware.  Until later.

     Peter is far from home, jaunting off to Venice, Italy, the Austrian Alps, Berlin, and London.  With filming taking place in all those sites, the visuals are heightened.   But Peter will not be on a sightseeing tour; danger and intrigue erupts at every stop.  He is relieved to find a potential ally in one of the heroes from another dimension named Quentin Beck/Mysterio (Gyllenhaal), who suddenly appears on the scene and who is able to thwart a huge new shape-shifting “elemental” threat that creates tornados and earthquakes on earth.  Gyllenhaal and Parker have a natural chemistry that charges up every scene they’re in together.  In all the goings on, Peter is caught up in complexities that take a while for him to figure out.

     Interestingly, beginning with the 2017 film when Peter’s friend Ned (Batalon) learns about his identity, MCU has decided in this version to be more public about who he is.  This makes for charming interchanges between Peter and MJ.  Zendaya’s character is so interesting in her deadpan expressions; and their pairing is a delightful part of the story.

Except for one new element, Far from Home resembles previous versions; but for Spider-Man fans, this one is likely to be fun and exciting.

Grade:  B                                    By Donna R. Copeland

SPIDER-MAN HOMECOMING

Tom Holland   Michael Keaton   Robert Downey, Jr.   Marisa Tomei   Jon Favreau  

Jacob Batalon   Zendaya   Laura Harrier   Donald Glover   voice of Jennifer Connelly

      The Spider-Man series is a mixed bag, but manages to be the tenth highest grossing film franchise in history.  Homecoming is the sixth titled work after Spider-Man (2002, 2004, 2007); The Amazing Spider-Man (2012), and The Amazing Spider-Man 2, (2014).  But beyond these, Spider-Man has been a character in nine live-action films.  In the most recent, Captain America, Spider-Man assumes prominence and recognition from Tony Stark.  Homecoming is something of a follow-up story, with Peter Parker (Holland) being a nerd-like teenager who, as Spider-Man, has aspirations of becoming Stark’s (Downey) right-hand super-hero.  In this film, he has to prove himself against the doubts of Stark and his agent Happy Hogan (Favreau).  To his chagrin, he is sent back to his Queens high school and advised to stay away from heroics.

    This rendition has Peter as an annoying teenager who has little recognition of his limitations but great confidence in his abilities.  While praising and even idolizing his mentors Happy Hogan and Stark, he thinks he is “good to go” in seeking out the crooks, specifically, The Vulture (Keaton), despite the cautions of Hogan and Stark.  It’s something like a coming-of-age story in which the incorrigible Parker gradually learns through his headstrong mistakes. 

    Homecoming is different from previous versions in Peter’s divulging his Spider-Man identity to his nerdy close friend Ned (Batalon) who is so blown away impressed, he can’t keep a secret either, creating more complications.  The villain in this production is Adrian Toomes, aka The Vulture (Keaton).  Toomes owns a salvage company that does not always stay within the law, and he is furious that Tony Stark (Downey Jr.) has edged him out of a lucrative job.  As he goes about his criminal activities, his path crosses that of Parker, who cannot resist getting involved, despite the warnings he’s been given.  There is a spectacular scene on the Staten Island Ferry, which is shown in the previews.

     Tom Holland puts in a forcible performance as Parker/Spider-Man, doing as many of the stunts as he could, although he was hampered by a broken leg after a fall down stairs at home.  Director Jon Watts has joked that Holland was as excited about landing the role as his character is in getting to be Spider-Man, and it shows in his performance.  Since he is a former gymnast, he can impress with feats like back-flips on command. 

     Michael Keaton, Robert Downey, Jr., Jon Favreau, and Marisa Tomei are their usual pro-selves, convincing in every way.  I understand that Keaton particularly enjoyed being the baddest villain he could be.  Younger Jacob Batalon and Zendaya bring fresh spirit and talent to the group.

     Jon Watts has achieved something many thought was undoable in resurrecting Spider-Man in a way that is engaging, entertaining, and sometimes surprising.  The last act has a very nice shocker in it.  Music by Michael Giacchino expertly and lyrically hits the right notes in every scene. 

     The movie is well done; I personally tired of seeing what I thought was much the same story in every previous rendition of Spider-Man.

An enthusiastic teen challenges Tony Stark’s patience with his gutsiness and impresses The Vulture with his nerve.

Grade:  B                                    By Donna R. Copeland

THE LOST CITY OF Z

Charlie Hunnam   Sienna Miller   Tom Holland   Robert Pattinson   Angus Macfadyen

       A gripping tale about one man’s obsession to make his mark on the world by locating the remains of a city that may have existed in the Amazon Jungle of Bolivia from 200 A.D. to the 1600’s.  Percy Fawcett (Hunnam), a middle-class British man in the early part of the century, is trying to be recognized for his military service, but now, the Royal Geographical Society has contacted him. He had distinguished himself in college with his mapping skills, and the Society wants him to use these skills in the Amazon, where Bolivia and Brazil are quarrelling about their boundaries, by mapping the river that courses between their two countries.  This would be an objective way to settle the dispute and avoid war.

     Fawcett is an earnest young man determined to over-ride his father’s disreputable reputation.  The complication is that he is married and has a young son, Jack.  But his wife Nina (Miller) shares his ambition and is as caught up in the quest for adventure and fame as he is.  So she gives her blessing and even does research in the library to help his cause.

Fawcett will make more than one journey into the Amazon Jungle, have both peaceful and life-threatening encounters with the natives, deal with unpredictable members of his parties, have to put off his wife who wants to accompany him on one expedition, and deal with the criticism of his teenage son.  He is away from home when his last two children are born.  Still, even after serving in WWI, he burns to dream his dream and “to seek the unknown” and find proof of a civilization that existed centuries earlier.

     The story, based on a book by David Grann, which drew upon true events, compels your attention through a relatively long film.  It switches rapidly back and forth between Great Britain, the Amazon, and the war theater—necessary, but sometimes abrupt because of the ground it has to cover.  In the process, the viewer is engaged with the dream of discovery of the unknown, the personal make-up of Fawcett, his attachment to his family, his wife’s heroism and faith in him, the politics involved in scientific expeditions, the mysteriousness of native cultures, and, ultimately, the outcome.

     Director James Gray has taken David Grann’s celebrated book about The Lost City of Z, and produced an intelligent, fascinating account of Percy Fawcett’s adventures.  His work is brilliantly enhanced by the cinematography of Darius Khondji, a master of light and shadow, photographic effects, and storytelling with the camera.  Charlie Hunnam is exactly right for the Percy Fawcett character, and I sing praises for Sienna Miller and her depiction of a woman of strength and purpose who could still be a model for women today.  The performances of Tom Holland, Robert Pattinson, and Angus Macfadyen provide lively support.

     The Lost City of Z is an opportunity to broaden your horizons, appreciate the scientific endeavors of committed explorers, and indulge yourself in exotic cultural experiences.  It says much about commitment and the exhortation to dream.

You may be able to find yourself in The Lost City of Z, and if you do, you’ll be the better for it.

Grade:  A                                    By Donna R. Copeland

CAPTAIN AMERICA: CIVIL WAR

Chris Evans   Robert Downey, Jr.   Scarlett Johansson   Sebastian Stan   Anthony Mackie   Don Cheadle   Jeremy Renner   

Chadwick Boseman  Paul Bettany   Elizabeth Olsen   Paul Rudd   Tom Holland   Daniel Bruhl   William Hurt   Emily VanCamp

          Keep your eye firmly on the screen because this Captain America travels at lightning speed across the continents, through the story line and the 90+ characters, over 20 of which are central to the action. Despite this complexity, more than in many action films, screenwriters Christopher Markus and Stephen McFeely present a coherent plot, fairly easy to follow for non-diehard Marvel Comics fans.  Industrial Light & Magic’s visual effects are stunning.

      It seems that after numerous deadly encounters through the years between the superheroes and the bad guys, much collateral damage has been incurred, making citizens fearful and governments thinking the Avengers need to be reined in.  It’s proposed that a United Nations panel be appointed to supervise them and set limits on what they will be allowed to do.  Tony Stark, aka Ironman (Downey), specifically is confronted by the mother of a promising son who was involved in charity work when he was killed in Sokovia, incidental to the Avengers’ defeat of the super villain Ultron.  The nation of Sokovia was decimated in that battle.

          Out of some guilt and reasoning, Stark is in favor of going along with the UN proposal called the “Sokovia Accords” when Secretary of State Ross (Hurt) presents it to him.  Tony brings it up to a few other super heroes for consideration, including Captain America (Evans), Black Widow (Johansson), the Falcon (Mackie), and Scarlet Witch (Olsen).  Vision (Bettany) and the War Machine (Cheadle) are already on board with the Secretary.  The film laudably presents logical arguments for and against the proposal, which have to do with individual freedom versus community interest and true heroism versus vigilantism.  Those on Tony’s side—Black Widow, War Machine, and Vision—regard community concerns as paramount; whereas those taking the other side—Captain America, Scarlet Witch, and Falcon—trust their own moral judgments over a committee’s and foresee that their individual assessments in emergency situations will be more effective than judgments by a committee.  This mistrust on the Cap’s part continues the theme from the 2014 Captain America film; namely his experience of being betrayed by authorities.

          So the lines are drawn between Stark and Captain America representing both sides of the argument, both of whom bring in recruits:  Spiderman (Holland) by Stark and Hawkeye (Renner) and Ant-Man (Rudd) by Captain America.  Fierce battles will be waged until an evil plot of divide-and-conquer is uncovered.  The Winter Soldier (Stan), Black Panther (Boseman) and Zemo (Bruhl) will play pivotal roles.

         Directors Anthony and Joe Russo (Captain America:  Winter Soldier) with their writers create an adventure-filled fantasy while clearly and intelligently addressing important moral issues related to security, privacy, individualism, and the role of governments in our world.  Grief over major losses and testing friendships add social/emotional components to make the action more meaningful.

      The cast is phenomenal, with most of the experienced, well-known superheroes skillfully reprising their roles.  Tom Holland as Spiderman is a welcome newcomer, acing his role with competency and humor.  Chadwick Boseman as Black Panther with cat claws is likewise effective in his introductory appearance.

A visual effects extravaganza with exciting and still meaningful content.

Grade:  A                                    By Donna R. Copeland