(***1/2)
“You don’t remember me, but we used to know each other.”
And so, cryptically and gingerly Peter Parker, aka Spider-Man, tries to reintroduce himself to his loved ones. It’s an extremely sensitive assignment. Not as dangerous as fighting crime all day, but as harrowing to a young man trying to find his bearings as he remains a superhero to most and a lost soul to himself.
Since 2002, there have been eight live-action feature films, with three actors (Tobey McGuire, Andrew Garfield and Tom Holland) and an assortment of directors. Fans of the franchise will debate—often while wearing Spider-Man merch—which version is the best. And now that conversation will get new heat as many will insist this latest version is the jewel in the crown. Without adding fuel to that fire, those who view this one, if they take a step back and reflect, will likely agree if this isn’t the best, it’s one of the best.
Director Destin Daniel Cretton (Shang-Chi and the Legend of the Ten Rings) had quite the challenge when he took on this project. He dared to go where filmmakers like Sam Raimi, Marc Webb and most recently John Watts went by pulling Spider-Man’s strings. He’s the right man for the job. Confident, energetic, consistent, sensitive when he needs to be and bodacious at the right moments.
Essentially, this production is seamless. Not at the level of Christopher Nolan’s Dark Knight, but within striking distance. In Nolan’s work, audiences felt swept up and dunked down every time Batman soared and descended. That’s what’s so spectacular about this entry: you feel like you are riding with Spider-Man. Every time he fires strands of his specialized, high-tensile polymer, latches onto a building and swings through the city, you’re right there with him. In so many superhero movies (Supergirl, for example), it’s painfully obvious that the actor is lying down with a green screen in the background, a fan is blowing hair and a cape and that’s supposed to feign flying. Here, you can’t see how the soup was made.
Cinematographer Brett Pawlak’s (A Jazzman’s Blues) camera goes with the flow. You swing like a pendulum and breeze through the air with the greatest of ease. He deftly conceals any computer-generated effects. You’re left wondering, “How’d they do this?” When the film depicts dorm rooms, warehouses, police stations or skylines, Charles Wood’s (Project Hail Mary) production design is either dazzling or ultra-natural. Glances at the costumes (Sanja Milkovic Hays, Spider-Man: No Way Home) or the powerfully exciting choreography of the action scenes yield the same observation. Whether it’s samurai floating through the air, Scorpion swinging his deadly tail or Spidey being blown through windshields and struck by trucks, the movement is expertly displayed. Michael Giacchino’s (Up) score swirls at the right time or demurs perfectly when Parker laments his lost love. And the editing (Nat Sanders, Gina Sansom, Harry Yoon) is rock solid too.
That said, what kind of story do screenwriters Chris McKenna and Erik Sommers have in mind after their collaborative effort on Spider-Man: No Way Home? Picking up where the previous pic departed, the superhero (Tom Holland) is still forlorn. He had to erase the memories of his buddy Ned Leeds (Jacob Batalon) and his sweetheart MJ (Zendaya) to protect them from an evil they couldn’t comprehend. To take his mind off his troubles, Spider-Man works obsessively with Detective Jean DeWolff (Liza Colón-Zayas) to thwart crime in a city that is under constant attack. As is the superhero himself, who’s become adept at dodging projectiles. The criminal Mac Gargan, aka Scorpion, has it in for him. He has an antagonistic and sometimes pals-like relationship with Frank Castle, aka Punisher. Spider-Man: “The hell, Frank? You just hit me with a van.” Frank: “Quit your whimpering.”
If audiences think their man isn’t in enough peril, just you wait. An evil he struggles to define emerges. It goes from place to place, taking over, changing things and heaping danger. It’s insidious, mercurial, possessive and haunting. Thanks to the clear, discernible writing, the plotline, though laden with characters, is easy to follow. It piques interest, is always adventurous and its twists, turns, betrayals and revelations mount in a credible timeline. Add in friendships that feel real. Then spice it up with an endearing melancholy and this Spidey tale becomes one of the best yet. If there is a flaw, it’s the interjection of Avengers like the Hulk in scenes where they aren’t needed. An MCU connection may be an imperative to the filmmakers, but maybe not so much to the audience. They could watch this movie without any prior knowledge and still have a good time. Ultimately, Cretton, the producers and the tech team have created a sandbox that gives the cast room to play.
Holland has grown perfectly into the role, taking Peter Parker from an awkward boy to a thoughtful young man. He exhibits so much sadness in this film, and it all feels palpable. As does the character’s courage, weak moments, good intentions and determination. His efforts are complemented by Zendaya’s intelligent, natural portrayal of MJ, the classic modern young woman. Their chemistry is so strong that audiences can feel it in the far reaches of their hearts. Perhaps their most tender moment is when Holland puts words in Peter Parker’s mouth that could melt steel: “You mean everything to me. I’ve been trying to live my life without you—but I love you.” Those words could sell millions of Hallmark cards.
Praise to Batalon, Mark Ruffalo, Colón-Zayas, Tramell Tillman, Sadie Sink, Olivia Booth-Ford and the rest of the cast members. Bernthal (Achilles in The Odyssey) once again steals his scenes, this time with a wicked, bullheaded charisma. So does Florence Pugh, in a Yelena Belova cameo where she makes Spider-Man feel, well, naked. She purrs: “You’re not completely anonymous anymore. I’ve seen your belly button.” But in the end, the biggest scene stealer may be the city of New York. The Big Apple’s presence is so strong it’s as if it’s inviting the audience to come and play.
Action-adventure and franchise fans will remember this Spider-Man forever. He’ll never have to reintroduce himself again to film fans. It’s a brand-new day indeed.
Trailer: https://www.youtube.com/watch?v=8TZMtslA3UY
Photos by: Jay Maidment
Visit Film Critic Dwight Brown at DwightBrownInk.com.