Spider-Man: Far From Home is the greatest prank of director Jon Watts’ career. To hammer (far from) home what I’m trying to say, there’s a scene in this movie where Peter Parker strips for a Slav dressed in latex, and when he and Svetlana get caught by a fellow classmate who takes their picture, Peter orders an orbital drone strike on his peer via a pair of magical reading glasses.
I can’t make this shit up.
This movie, unlike the original Phase 1 MCU movies, doesn’t even try to pretend it exists in the real world. Far From Home resides solely in a universe comprised of jokes, slightly sloppy CGI (which the film actually gives a reason for, in another great meta-twist by Watts as he continues to mock Marvel flicks), cartoonish villains, teenage awkwardness, and all the other makings of a stellar Disney Channel Original Movie (TM). It’s a hoot. G-Force better move over because we have a new world-class international spy thriller from the house of the mouse.
It’s clear the days of Iron Man 1‘s subtle, nuanced semi-realism are far, far (from home) behind us, and this movie officially puts the nail in that coffin. While other MCU franchises like Ant-Man and Guardians of the Galaxy heavily hinted at Marvel’s long-term trajectory, this Spidey film locks it in for good–right in time for Phase 4, also known as the phase a lot of fans aren’t planning on seeing or investing in now that the Infinity Saga has wrapped. Fare thee well, Holland, the squeakiest spider-boy/full-time Stark acolyte we ever knew. And adieu, Feige; thanks for everything up to 2012.
Also, snapshot reviews of other recent movies!
John Wick: Chapter 3 — Parabellum — the effects are cheaper and lazier than the first two films (so many crappy Photoshop blood-splats), and the movie is way more of a plotless cartoon than previous installments (both of which I sort of liked). Booo. Also, stuntmen literally lie on the ground awkwardly squirming and waiting for Keanu Reeves to “kill” them, and it really sucks the tension out of a lot of the action.
Godzilla: King of the Monsters — the story is cleverly topical, feel-good, and though every single Goddamn character speaks exclusively in exposition and certain plot devices are beyond ridiculous (a young girl sneaks a giant boombox out of an inexplicably incompetently guarded terrorist base all by herself), the movie, on the whole, is fun. The camerawork and shot composition are drop-dead gorgeous, the majesty of the monsters is more or less maintained from Godzilla (2014), and the whole thing is a visual treat. Also, the sound design of the monsters is excellent.
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