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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Shazam is absolutely, perfectly fine. It won’t change your world, but it’ll definitely brighten it up for two hours.

If you liked what you saw in the trailers, go see it. It’s a fun movie that lives up to its promo material and is built to amuse kids and parents alike, and the teens in between will probably get a kick out of it as well.

Every actor in the flick does a great job, and even some of the younger performers (specifically a young Asian boy) who struggle to match their peers still infuse enough passion into their performances that all shortcomings are easily forgiven. And even though the villain is one-note, two-dimensional schlock (not Mark Strong’s fault), it’s fine, because the story’s heroes have enough heart between them to make the whole two-hour journey worth it.

I can’t say much about the movie without spoiling anything, so just know that Shazam‘s marketing didn’t ruin, or even address, most of the film’s highlights. It’s not the kind of superhero romp that’ll leave you feeling like a badass a la Iron Man, and it’s not a movie with gritty, “big deal” stakes like Wonder Woman, but it’s a fun, top-tier cinema snack to chew on if you’re craving something free of politics and general dourness. Shazam is wholesome action-adventure entertainment that just about anyone can get behind.