Attention. This review does not contain spoilers and previews on Spider-Man: Far from Home, however, we will refer to them explicitly at the end of Avengers: Endgame. We know that it’s been a few months from the first exit to the cinema, but it is always better to inform!
We have to admit to being rather skeptical up to the last about the decision to conclude the phase 3 of the Marvel Cinematic Universe with a Spider-Man movie rather than with the perfect closure of Avengers: Endgame. We believed that the statements of the brothers Russo and director of Far from Home, Jon Watts, and were, simple marketing, and that there should enter something of the agreements with Sony, but after leaving the cinema, we have to admit that Kevin Feige has really closed the circle with a movie full of references and parallels more or less explicit to that of Iron Man in 2008 has given the beginning to this is rumored that the carousel cinema. Spider-Man, the hero beloved by young and old, finds himself having to overcome a major challenge: to fight with the same weapons, in this new incarnation, with the Spider-Man 2 by Sam Raimi, who many still consider the best cinecomic Marvel.
The plot in short and without spoilers
It’s been a few months since the final battle against Thanos. The world has begun to turn and Spider-Man: Far from Home does not lose time to explain to us what happened when the living beings erased from the Titan reappeared suddenly, five years after the pop at the end of Avengers: Infinity War. It had not disappeared, only Peter Parker, but also his aunt May, his best friend Ned, and many classmates, M. J., and Flash, including. While the world cries again for the death of Tony Stark and the other Avengers have fallen, and Peter intends to leave behind the trauma and distraction in the upcoming school trip to Europe, during which he would like to declare to M. J. Unfortunately, there is no peace for the Spider-Man: recruited by Nick Fury, Peter is forced to team up with Quentin Beck, a hero arrived from another universe to hunt down the Elementals, and giant monsters that threaten to destroy the planet. Unsure of his skills, Peter will be in at the Beck the mentor lost, but the dangers that await him will test his determination. Spider-Man, in short, will have to step out of the shadow of Iron Man and become an Avenger full title: will he succeed?
A film that is a comic
In Spider-Man: Far from Home, there are two souls. The first one is that cheerful and carefree a comedy, the school for adolescents. A large part of the humor in the film rests on the very odd group dynamics and on trade crisp between the young protagonists. We’re talking about a mid-abundant of the film in a succession of gags on the gag, even to the rhythm too tight, that lever on the first cooked, about rivalry, about the character clumsy of a hero who, in private life, is a real drag. Tom Holland, always more at home in the part of Peter Parker, returns a characterization of the delightfully clumsy character, both when interacting with adults, both when she finds herself stammering in front of the caustic of M. J. his relationship with his classmate played by Zendaya perhaps lacks that chemistry that you’d expect from a love story so iconic, but the script never becomes cloying, and, indeed, deepens very much a co-protagonist is important that in Spider-Man: Homecoming was a bit too aloof.
The DNA teen/school-of-Spider-Man: Far from Home is definitely what we liked less. It is clear that the film, Watts is aimed at a younger audience than other Marvel movies like Black Panther or Doctor Strange, to name two, and in this sense it is evident that some of the gags involving different viewers in different ways. It is a humor that thankfully never degenerates into vulgar so dear to the comedies of this genre, and, indeed, knowingly plays with certain clichés, maybe not over all but making them less predictable. After the first half of the film, the misadventures of the class of Peter are increasingly intertwined with the threat of the moment, coloring the scenes, the most compelling of those ironic undertones that relieve tension at the right time. In this sense, it is necessary to say that the direction of Watts follows the screenplay by Chris McKenna in an exemplary way, without sacrificing the rhythm or the intervals out-of-place. The humor adolescent, in short, fits perfectly into the playing time remaining, without wasting or straining.
Then there is the other soul, that blatantly cinecomic, dominating especially the second half of the film and makes Spider-Man: Far from Home one of the best productions of Marvel/Disney. We’re not talking about great special effects and excellent choreography – some of the action scenes, especially in the long final confrontation, are overflowing with creativity and intelligence – but of the issues that sneak in between the gag and the insecurities of Peter Parker, in defining the character much more of the hackneyed death of uncle Ben. Far from Home is another perspective on the legendary bar with great powers and great responsibilities, founded on a mythology that Feige has built in the space of ten years, and twenty-three films. In this part of the story, that robs forcefully the scene to the comedy of the school after an hour of projection, Peter is found to deal with such a responsibility, but above all with the need to develop a bereavement and go your own way. It is a location where it is accompanied by a cast of supporting characters important: Samuel L. Jackson in the role of Nick Fury more crabby than usual, Cobie Smulders is back, in those of Maria Hill, especially Jon Favreau , who plays an amazing Happy Hogan.
And then there is the hot potato, the man of mystery, Mysterio, that it is difficult to explain without slipping into spoiler easy. The world-famous arch-nemesis of Spider-Man in the comics, Mysterio is a powerful and valuable ally in the cinematic universe, but, above all, assumes the role of mentor, friend and father figure to Peter in disarray thanks to the charisma of the always excellent Jake Gyllenhaal. In a matter of a few jokes, Gyllenhaal wins over the audience and establishes with Spider-Man a special camaraderie. Contributes to the charm of the character, the dramatic performance at the screen of his powers and his iconic costume with the helmet bowl: watch it to project laser beams while zipping left and right with a cape that flutters behind is a real spectacle. Spider-Man: Far from Home is literally a comic book come to life in these scenes, thanks not only to the above-mentioned special effects, but also to the sensitivity of a design that respects the iconic character, without distorting it a touch too realistic. Mysterio is a fictional character on the absurd in comics, and remains, a character absurd in the film.
And in fact, the second half of Spider-Man: Far from Home is a crescendo of suspense and action scenes amazing is that they do not forget the script in favour of the spectacular easy. Watts, as we have said, it gets rid of the DNA from the comedy, but integrates it deftly in this part is more serious, reaching a good balance. At the end of the film, the Marvel Cinematic Universe as we know it is transformed with Spider-Man, grew up and really ready to any new adventures. There are phrases to the effect “…and nothing will be as before!” which are mawkish and banal, but actually in this case calzerebbero brush. We suggest you to stay for the two short sequences during the credits: the first one will leave your mouth open, the second might suggest some clue on the future of the stage 4 and the Avengers.