the Green Goblin (Willem Dafoe), Spider-Man 2’s Otto Octavius (Alfred Molina), and The Amazing Spider-Man 2’s Electro (Jamie Foxx). When Strange’s magic opens a gateway to different realities, once-dead villains from previous Spidey movies suddenly return, including Spider-Man’s Norman Osborn, a.k.a. The initial big revelations of the new film have already been shown in trailers, so I’ll discuss those first.
#ULTIMATE SPIDERMAN GAME CRACK HEAD PRO#
It’s all so pro forma that even Cumberbatch’s Strange, called on to convey rage at how his young colleague’s dumb request has prompted him to tear a hole in the fabric of the universe, merely musters some mild annoyance.
The magic goes awry, and Potter Peter finds himself face-to-face with a whole new set of problems. Anyway, hocus-pocus, things go wrong, portal into other dimensions, flashing lights, blah, blah, blah. Peter might be a teenager, but I don’t recall him ever being this stupid, either in the comics or the movies. Holland is a fine actor, but I’m not sure any actor could survive the sheer idiocy of this character’s decisions here. And Doctor Strange - again, I am not making this up - agrees to do so. Determined to fix this problem, Parker goes to Doctor Strange (Benedict Cumberbatch) and asks him - I am not making this up - to cast a spell making the rest of the world forget that Peter Parker is Spider-Man so that his friends can get into the college of their choice. Among the real-life consequences of Parker’s cancellation is MIT’s rejection of his and his friends MJ (Zendaya) and Ned’s (Jacob Batalon) college applications. The new film begins with Peter Parker unmasked and publicly castigated and shamed for killing the previous entry’s villain, Mysterio. They continue to treat Peter Parker as a child, and the ultrabuff, grown-up Holland now looks increasingly out of place. In other respects, too, these movies’ Spider shtick is starting to get old. It does take a unique brand of corporate cynicism to drain any and all grandeur from the sight of Spidey swinging through the canyons of Manhattan trapping the most cinematic of all superheroes in nondescript swirls of CGI sludge feels like its own act of villainy. It probably was at some point.) This is a particular shame when it comes to Spider-Man, since previous attempts at the character, even at their worst, have often been visually spectacular. The setting might as well have been an office building in suburban Atlanta. (The first entry featured a huge set piece at the Washington Monument - an inspired idea on paper - and did absolutely nothing interesting with it. Stark, I don’t feel so good.”)īut in most other respects, Watts’s Spider-Man films have been black holes of imagination. They’ve also managed to mine the age gap between him and other characters in the Marvel Cinematic Universe for humor as well as one meme-worthy moment of genuine pathos. As a result, the filmmakers for this latest Spidey cycle, including director Jon Watts and screenwriters Chris McKenna and Erik Sommers, have been able to sell us on some of Peter’s dodgier choices. Holland, by contrast, was 21 when Spider-Man: Homecoming premiered in 2017, and he looked even younger. It’s not so much that those actors were too old for the material it’s that the material could never fully utilize the character’s youth and inexperience because we as humans have a visceral resistance to watching people who clearly aren’t kids making childish decisions. Tobey Maguire had been 27 at the time of his first turn as the high-school-age superhero, while Andrew Garfield had been 29. The one good idea that the Tom Holland–starring Spider-Man films had was a simple, obvious one: They really did make Peter Parker a kid.
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