Inside Out 2 takes pretty much the exact same formula as the original and applies to a tween year, specifically focusing on the impact of anxiety. The novelty of the idea isn't as fresh in this movie, reflected in a lot fewer clever psychology puns and metaphors. In general, the humor doesn't seem to land much, and part of that is that this movie is about anxiety, teenage years, and to some extent, puberty, yet the market for the movie is far more oriented towards younger kids. While I think it could have handled some more emotions, specifically around puberty and being a teenager, I think it manages to capture anxiety pretty well. Even if the innovativeness and humor are not as sharp this time around, the emotional pathos is still fantastic, hitting the right notes and leading into a cathartic message that feels wholesome (albeit a bit too easy). I found this to resonate really well with my own experiences, and it was a compelling movie because of this central theme that is able to iterate so well on the original concept while still exploring another complex emotion. Inside Out might be my favorite Pixar movie, and this doesn't hit all the same highs as that one; however, it's definitely a lot better than a Disney sequel had any right to be.
Pretty simple and classic, but entertaining and efficient. The concept is nothing revolutionary, but still a nice touch to it.
X-Men vibes on the society, obviously, but here the parallel is made between powered people and immigrant workers, rather crudely I would say. They do the job, probably better with their powers, but can only work illegally, are harassed by the cops, and society wants to ban them. The way it's shown, it's like they can only work illegally in construction or become criminals, maybe that's a bit too much.
If apparently some (with money I guess) can work legally, why aren't there mind readers in the police, healers in hospitals, firemen that can control fire, muscle ones in the army, etc, etc. I mean, rich people can have powered kids too, and I'm guessing they're not treated this way. Could have been interesting to see this aspect, though it probably didn't fit in the narrative. Also if there is no work left for powered people because of automation, what about regular people ?
Main story is rather standard, small heists, a bit of action, betrayal between criminals, nothing fancy. I somehow had the whole Nia storyline the second she appears and coughs, so not much originality here either.
The power effects, the drones and robots look good enough, action scenes are well done. Nothing crazy but nothing to complain about.
Director Denis Villeneuve has actually managed to maintain the quality of what I consider to be the almost perfect "Dune" (2021) in this sequel. And I don't even want to start ranking both films; they are clearly on par for me and belong together. While the 2021 film has a stronger beginning, the finale of "Part 2" is much more satisfying. Ultimately, a double feature is worthwhile.
Looking at the second part on its own, my only major criticism is that the opening is a little clunky. In fact, it feels a bit like you're entering the middle of a story (which you are). However, it doesn't take long before you're fully immersed in the world again. This is primarily due to Villeneuve's impeccable sense of style. Whether it's the production design, score, visual effects, costumes, or sound, everything fits together perfectly. I would be very surprised if the film didn't play a major role at the Oscars in 2025.
But the acting is also another highlight. Timothée Chalamet shows once again that he is already a master of his craft. And Zendaya and Javier Bardem are also great in extended roles this time. But the MVP for me is actually Austin Butler, whose Feyd-Rautha is incredibly unsettling.
All in all, "Dune: Part Two" is a complete success. Only viewers who were hoping for a definitive conclusion to the story might be a little disappointed. After all, Frank Herbert's story is far from over. But if the film is successful, which it looks like it will be, then we shouldn't have to wait too long for an adaptation of "Dune Messiah."
"Lead them to paradise."
So epic! A proper sequel to the masterpiece that is the first one, Dune: Part Two is everything I wanted and more. The scale and the stakes are much bigger. It really benefits from the world-building and character roots previously established in the first and makes everything bloom. The themes (and at times criticisms) on religion and politics felt so refreshing for a sci-fi movie. It's pretty thought-provoking in that sense. The story had me captivated and invested. It still has it's slow moments but the action sequences are perfectly placed and the payoff in the third act is so worth it.
The biggest praise I could give it is the character arcs and evolution. Paul's evolution here is so fascinating, we basically watch a boy become a man. At the beginning of the movie you fear for his life but by the second half he's the one to fear, emanating confidence. Timothée Chalamet absolutely owned it. Austin Butler is the perfect villain, so unpredictable and violent. I love Jessica's character arc but it felt rushed at times, like she changed too much in between some scenes. The Reverend Mother is so badass, i'm always secretly rooting for her for some reason (the "silence" moment was perfection).
I wasn't expecting the amount of action we got, compared to the first there's a lot. The action and set pieces are so memorable. The worm riding scene was the best moment of the entire movie, I felt so alive with all the special effects and the sound design and the vibrations it's like I was riding it myself. Epic third act battle and hand-to-hand knife scene (although it isn't top tier combat compared to a lot of action movies but the editing and camerawork made it look flawless). They did skip some action in the third act that I wanted to see more of though.
God tier cinematography. I thought there was no way it could look better than the first but they somehow managed to make it look even better in this one. Loved the color grading and the way the sand moves, flawless. The most visually stunning sequence was the black and white one introducing Austin Butler's character. Epic sound design.
I keep trying to pick a favorite between Part One and Part Two and I don't think it's going to happen... they're equal. Overall an excellent sequel. Can't wait to see what's in store for Part Three.
'Blue Beetle' won me over in the end.
I wasn't personally convinced by it for large periods, not that I was finding it anything boring, irritating or anything close to that but I just wasn't really feeling the vibe. However, across the second half of the film I could feel myself gradually becoming more invested in the events onscreen.
Much of the cast match each other in terms of standard, they all try and subsequently produce solid displays. I will say that I really enjoyed George Lopez's performance as Rudy, he brings a lot of life and humour to the film via that role.
Xolo Maridueña is more than decent as the titular character, while Bruna Marquezine makes for a good match alongside Maridueña; even if her character's Kord family portion of the story didn't interest me as much as the Reyes', in that sense the less said about Susan Sarandon the better here - extremely meh, at best.
I very much wouldn't say the filmmakers hit the ball out of the park with this 2023 release, but I can certainly see potential with the character going forward - given they are reportedly planning to continue with him within the DCU. As for this, it's a serviceable superhero watch.
Take a lot of Ironman.. add a dash of spiderman let them rent batmans batcave and throw in a lot of Cookie Cutter scenes from marvel and drown it all in Tequilaand thats "BlueBeetle" .. ok first i dont know why the Movie Art has a 80s feel. when nothing in the movie says 80s accept playing motley crue towards the end. but anyway .. is this a bad movie? no not as bad as people say.. theres a lot of bad unbelivable dialogue and interactions. and honestly Susan Sarandon is wasted in this role. though i have stopped blaming actors and actressess for bad performances on screen. because theres a number of people who just go yup thats what we want. first off Auditions? really this person was the best for the job. then on set the director has final say on the day that yes that performance was what i want.. so yeah. the blame for bad acted movies lay there in my opinion. .. CGI is decent enough. but the beetle "suit" is a bit too ironman .. but on the whole. i cant trash the movie cause it did make me smile and did make me cry (though i do that at the drop of a hat these days) and it entertained me for the time it was on. not the worsed thing i have seen of late.
If not the cure to superhero movie fatigue, Blue Beetle is at least a salve. It doesn’t reinvent or redefine the genre, but finds the easy charm and fun it has that so many other movies these days have forgotten under the weight of movie universes and setting up the next movie. It’s concerned chiefly and only about Blue Beetle, and he immediately wins your heart thanks to a strong performance by Mariduena and a script that understands Jamie’s appeal as much as he does. Earnest and lovable without being boring, Jamie can give in to frustration and anger and hurt but never loses the heart so key to him and always owns up to when he falters. Combine that with one of the most endearing supporting casts in a live action super flick in ages. Lopez is utilized perfectly to his strengths, Escobedo nails the snark but also the aching vulnerability the film slowly reveals, Barrazza steals scene after scene, and Alacazar is the film’s heart. Marquezine has a winning chemistry with Mariduena, and even Guillen takes what could’ve been a forgettable role and makes it compelling with conflict etched on his face and leading into a cathartic resolution.
Sarandon does what’s asked of her, but it’s Trujillo who stands out on the villain side. He and a few twists in the script elevates what could’ve been another evil version of the lead into something a little more. There’s more social commentary and things going on than you’d think, and I even teared up twice. It gets a little bogged down by usual third act hijinks, and I wish there was more bonding between Jamie and Khaji-Da. What’s there is good, but it’s an element of the character I’m fond of that’s a little underserved here. It doesn’t quite rise to greatness, but it’s a great start and knows what it’s doing and how to execute it. I hope they get more gos at this character with this cast and crew.
I think most people have superhero fatigue at the moment however this movie did very well in certain areas. Unlike other recently DC and Marvel movies this movie has a lot of heart all down to the cooky combination of the Reyes family. It can be off the rail at times with some crazy action coming from this family. Xolo Mariduena has a lot of heart as he did in Karate Kid and it really shines through in a Spiderman/Peter Parker style way which does well to make you love the characters.
However while the actor and characters were interesting sadly the main plot and action was the same formulaic combination we've seen again and again. Dude gets powers, dude battles to master them, there's a love interest and dude battles a corporation with big CGI armour battles. It's very Iron Man and the same CGI over the top battles we've seen before....all very bland and generic.
I feel if this came out 10 years ago it would be a hit but sadly while the family/characters were engaging the plot left little to be invested in and had no twists or areas that stood out. The movie was enjoyable as a free streaming movie but there's little here to invest yourself in within this franchise, maybe with some non generic plot it would have been better but sadly that's not the case
DC has already proven in the past with the first "Shazam!" that a superhero movie can work if the focus is not primarily on being a hero but on topics that everyone can understand, such as family. In "Blue Beetle", the theme of family is again clearly the standout. The film has heart, and Xolo Maridueña, known mainly from "Cobra Kai", is an excellent leading man. The rest of the Reyes family also leaves a lasting impression right from the start, especially George Lopez as Uncle Rudy.
The film's effects are also solid. The "Blue Beetle" suit does look more like something from a CW show than a movie production in some scenes, and some borrowings from Iron Man are a bit too obvious. But all in all, it works quite well, and the look of the film is definitely memorable. In the end, however, it didn't convince me completely. The villains (Susan Sarandon and Raoul Max Trujillo) are far too one-dimensional and boring for that. And also, the superhero part of the story is a bit too generic for my taste. I definitely had to roll my eyes a time or two as well. Still, I'd say there have been worse comic-book adaptations this year.
Ouch, that average rating! I'm not going to lie though, I genuinely had a fun time watching 'Madame Web'... perhaps I should be keeping that fact quiet?
I don't know what to say, I found it to be suitably entertaining. I'm sure there are plot holes aplenty (I noticed a few) and it probably makes zero sense/isn't a good adaptation compared to its source material or whatever but honesty... I don't care, it gave me enough enjoyment that I wasn't questioning anything about what I was watching.
The cast are probably the key factors as to why I did enjoy this. I previously knew of Dakota Johnson but hadn't actually seen her in anything properly, I found her performance to be more than noteworthy and she spearheads the film strongly. The trio of Sydney Sweeney, Isabela Merced and Celeste O'Connor are positives too.
Tahar Rahim's antagonist, meanwhile, is poorly written and portrayed, though I personally thought the actor did a good job. I have no complaints with anyone who appears onscreen to be honest. Away from them, the pacing and score are also standouts.
In my recollection of viewing this, I truthfully haven't got any issues with it. If it wasn't for the slight bad murmurs that I did hear about pre-watch (though not much of it as I avoid as much as I can with movies) and the reaction on sites like this post-watch, I'd not be questioning my thoughts about this whatsoever.
As I always say, to each their own. For me, gimme a sequel (as long as the cast remain, mind). Not even sorry.
James Gunn's The Suicide Squad is a sequel of sorts to the 2016 movie Suicide Squad, which was both a box office success and an Academy Award winner, but widely criticized by audiences. However, this new version directed by Gunn is an improvement in every aspect, retaining the energy, color, and music of the original, but with more authenticity and less theatricality. The action sequences are bigger, bloodier, and better choreographed, the characters are more engaging and even the villains are more captivating. Gunn has used a diverse and unique set of characters from the DC universe and they have become the heart of the movie, with standout performances from David Dastmalchian as Polka Dot Man, Daniela Melchior as Ratcatcher 2, Idris Elba as Bloodsport, John Cena as Peacemaker, and Margot Robbie returning as Harley Quinn. Even Stallone's King Shark is noteworthy. While the story is a familiar one, the characters, sharp writing, and effective humor make up for it. The Suicide Squad is a good example of a movie that gets the basics right and adds more to it. The movie has some of the best action sequences of the year and also has some surprising emotional moments. It's a highly enjoyable cinematic experience.
The Suicide Squad de James Gunn es una especie de secuela de la película Suicide Squad de 2016, que fue un éxito de taquilla y ganadora del Premio de la Academia, pero muy criticada por el público. Sin embargo, esta nueva versión dirigida por Gunn es una mejora en todos los aspectos, conservando la energía, el color y la música del original, pero con más autenticidad y menos teatralidad. Las secuencias de acción son más grandes, más sangrientas y mejor coreografiadas, los personajes son más atractivos e incluso los villanos son más cautivadores. Gunn ha utilizado un conjunto diverso y único de personajes del universo DC y se han convertido en el corazón de la película, con actuaciones destacadas de David Dastmalchian como Polka Dot Man, Daniela Melchior como Ratcatcher 2, Idris Elba como Bloodsport, John Cena como Peacemaker. , y Margot Robbie regresando como Harley Quinn. Incluso King Shark de Stallone es digno de mención. Si bien la historia es familiar, los personajes, la escritura nítida y el humor efectivo lo compensan. The Suicide Squad es un buen ejemplo de una película que entiende bien los conceptos básicos y le agrega más. La película tiene algunas de las mejores secuencias de acción del año y también tiene algunos momentos emocionales sorprendentes. Es una experiencia cinematográfica muy agradable.
Bloodsport: “Nobody likes a showoff.”
Peacemaker: “Unless what they showing off is dope as fuck.”
James Gunn recently said in an interview that he finds superhero movies “mostly boring” right now. Anything ranging from safe and boring or technically well-made but disposable, at best. Gunn received at bit of heat from fans for those remarks, but in some sense, he’s not wrong. Because sometimes following the same formula will eventually wear fin and more risk taking needs to happen.
And here we have ‘The Suicide Squad’, the soft reboot to the 2016 film, but this time directed by Gunn himself, where he delivers a highly entertaining movie that is bursting with creativity and ultra-violence. James Gunn once again shakes up the superhero formula with a slick style. I’m just glad DC is finally letting directors have a voice and a vision, and I hope it stays like that.
The first 10-15 minutes tells you exactly what the movie is going to be.
I just can't believe we got something like this. It's 2 hours and 12 minutes long, but it's always on the move. It’s bonkers from start till finish, and I enjoyed every minute of it. This is probably one of the best shot movies in the DCU. The soundtrack is great as well and used effectively. The action scenes were insane and made the overall experience one of the most fun I had at the cinema in a long time.
A massive improvement over the 2016 film, AKA ‘the studio cut’, is that the movie doesn’t look ugly and isn’t chopped together by trailer editors. The movie is vibrant in colours that made it look pleasing to the eye. The structure at times is messy, and yet strangely well-paced, as there’s a lot going on.
Did I mention the movie is very gory? It’s cartoonish violence, or what people call "adult superhero movie", so it's not for kiddies or for the faint of heart. You would probably guess that not everybody on the team is going to make it to the end credits, so deaths are to be expected, but how certain characters “bite the dust” are so unexpectedly gruesome and brutal, it took me by surprise each time. The marketing for the movie was right, don’t get too attached. As I said before, James Gunn had complete creative control over the movie, and he doesn’t hold back on what he wrote and show on screen. But then again, it's a movie, it's not real, the actors who die on screen are fine in real life...I think.
All the cast members have equal amount of time to shine, and you like these super villains this time around, as each character had wonderful chemistry with each other. John Cena plays Peacemaker, who can be best described as a “douchebag version of Captain America”. An extreme patriot who will do the most horrific things for liberty. John Cena excels in the deadpan line delivery for comedic effect, but surprisingly enough, worked well in the serious moments. Looking forward to the spin-off show ‘Peacemaker’.
Margot Robbie once again nails the role of the chaotic but gleeful Harley Quinn. While the character isn’t front and centre this time around, more of a side character, but whenever the character is on screen, it’s instantly memorable.
Idris Elba plays Bloodsport, a contract killer who’s doing time in prison after failing to kill Superman with a kryptonite bullet, while also dealing with family issues, especially with his daughter. While the character may sound like Will Smith’s Deadshot from the 2016 film, but trust me, the execution here is much stronger. This is by far Elba’s best work in a while. Charismatic and a strong leading presence.
Polka Dot Man, played by character actor David Dastmalchian, a socially awkward, weird, and lame sounding character that has some serious mummy issues, which has a funny running visual gag throughout. However, because of Gunn’s writing and Dastmalchian's performance, the character is more than a joke, but a unique character to watch.
Ratcatcher 2, played wonderfully by Daniela Melchior, who brought so much warmth and heart to the film. I loved how they tied in her tragic backstory into the finale, as it honestly made me cry. And let’s not forget the king himself, King Shark, voiced by Sylvester Stallone. He stole every scene he’s in, because he’s so adorable and has such kind eyes, but when he’s hungry, he can be a killing machine.
The rest of the supporting cast, even in the smaller roles, still manage to stand out amidst all the chaos. I liked Joel Kinnaman as Rick Flag a lot more this time around, because the actor was given more to work with in terms of good material. Viola Davis is brilliant as the cold and ruthless Amanda Waller. And Peter Capaldi is always a pleasure to see. Also, I like the character of Weasel, who I can describe as a unholy offspring of Shin Godzilla and Rocket Racoon. He may not be beautiful to look at, but he's beautiful to me.
Like ‘Guardians of the Galaxy’, the movie has a lot of heart and I like how they took certain characters, who on page sound stupid and ridiculous but are handled with such love and depth, while also being self-aware of its own characterization.
You can literally watch this as a standalone movie and you won’t be lost or confused, as you don’t need to watch 22 other movies to understand it. This is by far the strongest entry in this jumbled mess of a cinematic universe.
Overall rating: Nom-nom!
Enjoyed this!
2023's 'Wonka' is very good! It's an original story based upon the Roald Dahl novel, so it isn't an adaptation as such like the 1971 and 2005 flicks. With that I didn't find it quite as interesting as what's portrayed in the aforementioned films, but I do appreciate (and prefer, tbh) that they went a different way with it here. And it comes out nicely.
Timothée Chalamet gives a strong performance in the lead role. Those behind Chalamet are entertaining, from Calah Lane to Keegan-Michael Key to the trio of Paterson Joseph, Matt Lucas and Mathew Baynton - the latter three's dance number for the Chief of Police near the beginning is amusing. The musical elements in general are solid.
Tom Davis and Olivia Colman are fun too. All characters played by those mentioned above after Lane could've easily have been extremely cringey, but thankfully I didn't find that to be the case for any of them at all - very well written, shown and cast in that regard.
Someone I have yet to mention is a certain someone as Lofty, an Oompa-Loompa. Hugh Grant is excellent as the orange-skinned, green-haired fellow, even if they did use Grant's best bits in the trailers; which I usually avoid due to those sort of (albeit minor) spoilers, but evidently failed to do so here.
All in all, I'd say this is a success. Credit to them for delivering, especially as I was kinda nonplussed by the already noted trailers (Grant aside).
There were two factors that made me question the necessity of "The Ballad of Songbirds & Snakes" beforehand: Firstly, it's a prequel, and secondly, it's also an origin story for a villain. These are both things that often make the plot more predictable than it should be because you know exactly where the journey is going. Even though this is also true in this Hunger Games prequel, I nevertheless quite enjoyed the movie overall. Panem is an interesting world. Because the action here takes place shortly after the war, you learn many reasons for the state of the world 64 years later. The eponymous "Hunger Games" are also very different from what we've seen before. Here they are much more scaled-back, grittier, and somehow also more brutal.
The casting of the main characters is also very successful. Tom Blyth is quite convincing as the future dictator Coriolanus Snow; above all, he manages to let the cool, calculating, and dangerous nature of his character shine through from the very beginning. Particularly strong, however, is Rachel Zegler as Lucy Gray Baird. Recently, there has been some very strange online hate against Zegler, but personally, I've found her good in everything I've seen her in. In "The Ballad of Songbirds & Snakes", it's not just her acting talent that's required, but above all her enormous vocal skills, and she masters the task effortlessly. Of the rest of the cast, I would also single out Viola Davis, who, as Head Gamemaker, puts her stamp on every scene she's in.
Now, this all sounds pretty positive, but unfortunately, I didn't enjoy the last third of the movie as much. While the first third manages to introduce the characters very efficiently and the actual "Hunger Games" take place in the second third, the movie loses all momentum in the final act. Naturally, the characters had to be positioned so that they fit into the previously known story, which brings us back to the disadvantages of a prequel. Overall, however, I stick to my recommendation for the movie, even if the ending is perhaps a bit disappointing.
i don't know what the critics were smoking when they reviewed this, but it's important to always watch a movie yourself and give it the benefit of the doubt before forming your own opinion. admittedly i,m a much bigger Marvel fan than a DC one, but i'm also a comic book fan in general, so i was always going to watch this. i,m happy to say that Suicide Squad has redeemed the disaster that was Batman v Superman and if Wonder Woman and Justice League can keep the ball rolling after this, then the DCCU is looking good.
the movie is fast paced, never stops moving, and the humour and darkness are balanced just right, with neither one being overdone. Margot Robbie as Harley Quinn definitely steals the show as far as i'm concerned, and Will Smith does a good job as Deadshot, despite the fact i never agreed with his casting in the first place. despite what many people thought, Joker is not the main threat in this movie and his role is kept to a minimum, but Jared Leto does make an excellent Joker.
don't make the same mistake i did and leave as soon as the credits start to roll, because you will miss the mid credits scene if you do, and i,m saying no more than that on that subject. this movie gets a solid 10 from me, with Captain America Civil War being the only other movie so far to be ranked that high
If you ever needed a lesson in not listening to reviewers and making your own mind up about a movie, this is it. The Suicide Squad is brought to life by David Ayer in this summer blockbuster. It is 2+ hours of hard hitting FUN, with incredible portrayals of comic book favourites. Will Smith IS Deadshot, Margot Robbie IS Harley Quinn, Adewale Akinnuoye-Agbaje IS Killer Croc, Jai Courtney IS Captain Boomerang... and The Joker??? I WANTED MORE!!! Well the biggest compliment I can pay to Jared Leto is that I didn't think about Heath Ledger once, it was a completely different yet interesting portrayal.
In this fun action flick, the bad guys are sent to take down a greater evil. Critics of the big bad in this movie seem to have completely missed the point. The big bad in this movie is merely a plot device, to help us get to see our protagonists form as a team. If anything the real villain of the piece is the one who forms this team of misfits. Amanda Waller is portrayed DIABOLICALLY by the incredible Viola Davis and the part where she turns on and guns down her own employees is SHOCKING . Complaining about the villain in a movie where the protagonists are bad guys is akin to complaining about the villain in Deadpool... THAT'S NOT THE POINT OF THE MOVIE!
This movie leaves you with a thirst for more of these characters, and some shots such as when Will Smith is stood on top of a car and gunning down henchman after henchman after henchman look like they have just been ripped out of a comic book and put on screen by the wonderfully talented David Ayer.
If you are a comic book fan, or a DC movies fan, heck even if you are just an average movie watcher... watch this movie! It is SO MUCH FUN!!!
UPDATE: Just seen the Extended Edition and I really enjoyed the new scenes. This extended version doesn't change the nature of the movie in the way the Ultimate Cut did for BvS but I found it let's the movie breathe a little and solves some of the editing problems people complained about. I still love the theatrical release but my recommendation is to watch the extended version of this movie!
For me, the main question I wanted to know going in was, "Is this going to be better than Kingdom of the Crystal Skull".
Happy to report that, yes it's vastly superior in almost every area to Kingdom of the Crystal Skull.
But with that out of the way, does it compete/equal the originals, to which the answer for me was no.
But it had its moments and felt way more in line with "an Indiana Jones" movie than Crystal Skull and had it's share of flaws. I still think Hollywood should use younger actors or makeup/prosthetics instead of "de-aging CGI" as it continues to look horrible IMO, or at least use it the same way the used emerging CGI in the late 90's early 00's by keeping it in shadow/not the focus point.
The cast, both legacy and new are solid across the board, soundtrack and score work well, plot was a big fun dumb adventure that actually felt like following the breadcrumbs in a good way.
Not at all a bad film, but one that probably won't make my top 10 of the year, but unlike Crystal Skull this probably also won't make my worst 10 of the year either.
I enjoyed the movie a lot! As a DC fan one of the best films in DCEU and for what my prediction of Sasha Calle that she will be a great supergirl in it was correct when I saw her in the trailers of the film before, I love her character in the movie and people will gonna love her too 100% guaranteed. I really hope Gunn will hear us and let her be the Supergirl in the continuing DCU that he will make.
Idk why some people didn't like having different Batmans in it and some of them calling it as a Batman film (to be an insult for too many Batmans version that was presented in the movie), let me tell you now they are wrong! This is a Flash film through and through! I love that we have different superheroes and just treat them as a feature of the film, just like Batfleck in the first half his character was there then he was done and we got Keaton Batman and by the end, we have Clooney Batman and that was it, and because of this, it makes the world/universe much more alive for me because of multiple Batmans versions that we got in it.
Yes, Nic Cage is in the film and I love the part of what he was in the movie. There could be potential for a spinoff of his character in DCU if Gunn plays this right.
Go watch it if you're a big DC fanboy like me.
Well, they actually managed to make a decent The Flash movie, and without Grant Gustin too. Ezra Miller is back again as Barry Allen despite the controversies that surround them, but I hope you can forget or ignore that fact for about 2,5 hours (it's hard), because this movie is super fun. Now for the pluses and minuses:
2.5 hours is pretty long, but while watching it, I forgot that. The story unfolds with good pace and (almost) never a dull moment.
I love both Affleck and Keaton's performance as the caped crusader. Especially Keaton, he still got it! I felt the same joy as back then when I was a kid watching Tim Burton's Batman.
Sasha Calle rocks! While she only appeared in the last half of the movie, her Supergirl is much, much better than I expected.
Cameos. and a lot of them. Yes this can be seen as fan service as their appearance don't really affect the story much, but boy I was super excited and screaming internally watching that one particular scene. Good thing I avoided all the spoilers in the internet.
Still a better multiverse movie than the latest Dr.Strange
Billy Crudup doesn't return as Henry Allen. It's a shame since he did a good job back in JL movie.
There're some "wut" and "aw come on!" scenes, still fun and interesting though.
The soundtrack is just okay. I still love Zack Snyder's JL more. So many epic moments elevated by the majestic score, but I don't feel the same when watching The Flash.
My final rating : 7.5/10
Yeah, this movie was fun. This is the best way to describe the positives. Regardless of how you feel about Ezra Miller as an actual person, his portrayal of Barry is very likable and he killed it by playing two of them. And the humor is quite good. I (and a bunch of others in the theatre) laughed a good amount of times, it was charming. That also applies to action which is well-shot and creative.
I am very much looking forward to Andy making the Batman movie if the rumors are true. His camerawork is nothing but amazing, I loved it. Really excited for the action Gunn and Andy can bring to the DCU. The CGI is also most of the time a clear non-issue unless you pay extra attention to it. The only time where I think it becomes distracting and uncanny is the cameos, but that takes place in the speed force so I can live with Andy’s argument here. However, uncanny cameos don't come close to ruining this movie as many people pretend it, although I'm sure none of them actually watched the movie. So let me state it clearly: I think the Flash is well-shot, looks a few times bad, but most of the time very good. There are a lot of scenes where color and lighting are very well-utilized. Personally, I have some gripes with the aesthetic of the speed force though, but maybe we can improve it in the DCU. The DCU is the perfect opportunity to overhaul the aesthetic and make something better.
If there is one thing I think could've been better, it is definitely the emotional gravitas. I think the script is solid, but there is just too much content to expand on the theme properly, but Barry's characterization also feels rushed. I think previous movies could've established that better, and this movie instead could have expanded more on Keaton's Batman and also Supergirl, because they also have regrets and scars from the past. Supergirl generally is criminally underutilized in this movie. This movie felt super short, to be honest. I guess I was well entertained because it didn't feel like I sat in there for 2,5 hours and there is so much they could've expanded on. Also, I liked the Andy cameo.
So yeah, overall, fun and charming experience, however, the movie ultimately feels rushed. Too much content crammed into one movie. The general theme of regrets and moving on is very good, but the movie didn't live up to its potential. In a DCU which has proper build-up between different movies and series, I think Andy can make something truly magical.
Despite the glowing advance reviews, "The Flash" is not the best superhero film of all time, the year, or even the month. But it is definitely a good movie overall. The humor is mostly spot on, the effects are impressive, and Ezra Miller is consistently convincing in the lead role. Michael Keaton still fits the Batman mantle pretty well, and Sasha Calle also delivers an excellent first impression as Supergirl. On top of that, of course, there are some neat cameos.
The pacing of the film isn't bad, either. It starts with a really entertaining sequence before the time travel plot picks up speed. The plot is comprehensible throughout and, above all, not as overly convoluted as in many other genre representatives. However, "The Flash" also has the usual problem of similar stories, that the fate of the characters never really gets to your heart, since it is not crucial for the "canon" anyway. But there is no such thing in the dying DCU anyway. In addition, there is not really a good villain, but then again, none was really needed here.
Overall, I would say that "The Flash" is neither a good conclusion to the old DCEU nor a good transition into the new DCU. You can still have a good time at the cinema, though, as the film works on its own and should appeal to fans of old DC works as well.
"My powers are not a gift. They're a curse, born out of rage."
I had a blast watching this in theaters. This was very bombastic, with a lot of cool action, but also telling a heartfelt story about Black Adam.
It was very inventive how they depicted Black Adam's origin, keeping it a mystery up near the end. Dwayne Johnson was born to play Black Adam. He steals every scene he's in playing a badass anto-hero.
Now the Justice Society, while they didn't have a backstory in the film, they each had prequel comics detailing their backstory. Which I really dig, these comics are meant to sell comics, after all. Might as well get the audience to buy the comics to get into some great stories (they are also currently doing this with The Flash). The movie actually starts right where the Doctor Fate prequel comic ends, so I don't think it's apographa. Doctor Fate played by Pierce Brosnan was a standout. He really put his all into this character. Aldis Hodge was also a standout as Hawkman.
The surprise villain of Black Adam, Sabbac, was a really good addition to the Shazam! mythos. If the wizards have their own champion, why doesn't the seven deadly sins have one? Sabbac is the answer to that. Doctor Fate's battle with him was really cool.
Overall, this wasn't as bad as the critics were saying, I had a fun time! Be sure to stay for the mid-credits scene!
It certainly delivers on the action pretty much the whole runtime is non-stop over the top action. It's a lot of stupid fun but if you're looking for something logic and compelling this is not your movie. The dialogue is often cringe and the overuse of slow-motion sequences can be off putting. There's lots of comedy thrown in but it doesn't always land. The action sequences are mostly great but sometimes misplaced and the CGI has it's flaws.
The Rock did a good job at portraying a charismatic and layered Black Adam. He feels very much overpowered and unstoppable I have to say the thought of having him go up against Superman is exciting. Although i'm not convinced this was a good origin story/introduction. By the end of the movie i'm still not entirely sure who the man underneath the suit is at the core. I mean we got some flashbacks of 5000 years ago but he just lacks depth in the present. My favorite character was Dr. Fate (Pierce Brosnan) I hope we get more of him. Hawkman (Aldis Hodge) was a great addition. Cyclone and Atom Smasher add nothing to the story really.
It's quite surprising that in the same year WB gives us something as layered and serious as The Batman and Black Adam, a corny, cliché and very simple action flick. Not that they need to be compared It's ok to do something different but I was prepared for a certain level of quality that represents the company.
I was tolerating the sillyness of the movie until the last third of the movie it just got downhill with the main villain... A bit too much sillyness for me. That being said I probably would of loved it if I was a kid.
[8.0/10] This was a ton of fun. The central idea of Mantis trying to get the perfect gift for Peter by kidnapping his childhood idol, is delightfully deranged. It leads to all sorts of great shenanigans with her and Drax heading to Earth to act like giant toddlers in Los Angeles. Both actors do great with the fish-out-of-water routine, and watching them obliviously make their way through human social situations, with all the grace and tact of a rowdy two-year-old, is a durable comic engine for the special. The various set pieces, from selfies amid other “characters,” a trip to a bar, and the chasing of Kevin Bacon himself provide plenty of fodder for comedy.
Kevin Bacon himself is a real sport. He’s game for a bit of self-deprecation, but comes off as genuinely charming, alarmed, and downright decent when going through such a bizarre set of circumstances. In true James Gunn style, it mixes the absurd with the sincere, as a celebrity abduction plot is out there, but relating to someone’s childhood hero on a special day isn’t.
Along the way, the imaginative texture and catchy needle-drops the Guardians franchise is known for are out in full force. The reimagined Knowhere feels like a real set despite digital embellishment. It looks especially bright and inviting with Mantis and Drax’s redecoration in luminous splendor. The alien designs have texture and creativity to them (especially the new Groot look), and even the scenes set on Earth have a certain panache to them.
Gunn and his team managed to round up a collection of great off-beat Xmas songs, and even added a couple new ones. Incorporating The Old 97s as an alien band is a boon, and their new song is my favorite of the bunch. Even Kevin Bacon himself turns in a creditable job singing the closing number (sounding eerily like Jason Isbell).
Also on the texture side, the animated flashbacks to Peter’s childhood with Yondu are stylistically reminiscent of the Nelvana animated segment during the Star Wars Holiday Special. The graphical homage is a nice nod considering how much the first GotG inherited from A New Hope and beyond. And by some coincidence, I recently watched Nelvana’s Droids series, so this style of design is fresh in my mind. (Even then, the Guardians special’s animation is much upgraded.)
Gunn’s humor remains strong throughout. Even in the smaller scenes we get with Rocket, Groot, Nebula, Kraglin, and others have the slanted, misfit charm that most of Gunn’s projects exude. The rampant ragging on actors by actors is a hoot. And cameos from collaborators like Flula Borg aren’t bad either.
Of course, this being a holiday special, there’s also some well-done sap (or, more charitably, emotional heft.) For all the toddler-like silliness of Mantis here, her fear that Peter learning about their common parentage would alienate him from her, out of a concern that seeing her would only dredge up his complicated feelings about his father, is very sympathetic. And him hearing the news and surprising her with the reaction that it, not Kevin Bacon, is the real greatest present he could ever get, is a telegraphed but no less sweet place to take the emotional throughline of the episode.
Likewise, I appreciate that the animated bookends start with Yondu being a Scrooge, only to gift Peter his first pair of blasters when he sees the care and charm the young Starlord put into his makeshift holiday celebration. Again, sappy and simple? Absolutely. But also roundly endearing and sweet.
Overall, the Guardians of the Galaxy Holiday Special is infinitely more fun than its Star Wars equivalent, with a rollicking fish-out-of-water escapade, some great music and engaging visuals, and just enough holiday cheer to soften you up for the season.
(As an aside, between Bacon referencing his character’s death by arrow in Friday the 13th, and Kraglin explaining to him that his headfin helps him control arrows but he’s not very good at it yet, I was shocked that the post-credit scene wasn’t Kraglin accidentally impaling Bacon through the neck a la Mrs. Vorhees. Maybe they’re saving it for GotG Vol. 3?)
"Just be a rock."
The only thing I knew going into Everything Everywhere All at Once was that it starred Michelle Yeoh and Jamie Lee Curtis. I didn't expect it to be this kind of awesome film that ended up hitting me in the feelings bone and that Jamie Lee Curtis would play a IRS agent.
What I also didn't expect was that I would see a awesome fight with someone using a fanny pack as a weapon, that Michelle Yeoh would fight two guys trying to stick something up their asses to power up and that sausages as fingers will never be useful.
Anyway Daniel Scheinert and Dan Kwan's film is just such a unique one. It is deep, it has loads of action, humor and drama. Even though it is over two hours long time flies, which is always an amazing sign. Everything Everywhere All at Once is maybe one of my favorite movies released over the last 5 years.
And let me end it with discussing Michelle Yeoh. This really might be her best performance and it shows her range. From her starring with Jackie Chan and jumping a motorcycle upon a moving train to her being in a film like Memoirs of a Geisha to films like with wire-fu like Crouching Tiger, Hidden Dragon to starring in a Marvel Cinematic Universe film and even in big blockbusters like the next three Avatar movies. Her range is huge and she's one of my favorites. Hopefully she'll get a nomination nod with her performance in this epic film.
If you're looking for one of 2022's best, this is it.
[9.3/10] A few years ago, for some strange reason, I decided to watch every Spider-Man animated series from the 1990s. The different shows had different takes on the wall-crawler, plopping him into very distinct settings and scenarios. But I realized there were two main things about Peter Parker that united the various versions of the character across years and franchises: (1.) he chooses to do good, even when it’s difficult, because it’s the right thing to do, and (2.) he suffers for his art.
Spider-Man: No Way Home strives to encompass a lot. It is the culmination of the Jon Watts/Tom Holland version of Peter Parker and the journey through his high school years that began in Homecoming. It has to service broader MCU connections to Doctor Strange and Captain America. It finds grace notes and meaningful moments for M.J., Ned, Happy, Flash, Aunt May, and a host of other characters who’ve been major parts of the series. And if that weren’t enough, it brings back five villains, two heroes, one conspiratorial agitator, and scads of loose threads from the five movies that preceded this Peter’s arrival.
And yet, what makes it work, what gives No Way Home a clarity and a balance other mondo Spider-Man movies missed, is the way it’s built around those twin ideas, those dual core facets of the character. Despite the multiversal stakes, Spider-Man strives to live up to the values instilled in him by the people he loves, even when it’s the absolute hardest thing to do so. And endures tremendous losses, makes grand personal sacrifices, in the name of looking out for everyone but himself. It’s what bolsters this Spider-Man, and all Spider-Men, and elevates this film into one of Spidey’s very best.
It helps that what starts these multiversal problems is something smaller and personal. So much of the MCU’s Spider-Man is about this overwhelmed, undermanned kid standing in the face of grandiose events. Spider-Man trips the time-space continuum not from battling interdimensional beings or from going up against titans with reality-warping powers. Instead, he’s upset that being associated with him kept his best friends from getting into college, that they were taken in and interrogated by law enforcement, that it blew up his aunt’s life. His exposure poisoned the well for everyone around him, and he effectively asks for a wish to undo it, not for himself, but for those he cares about.
It’s a strong setup. No Way Home takes seriously the unmasking from the last movie, and the impact it would have on Peter’s life and those of friends. It puts this comparatively charmed version of Spider-Man into the familiar guises of his counterparts. He is broke. He is embattled. He is concerned he’s a burden and a threat to those he loves. He no longer has Iron Man, or S.H.I.E.L.D., or the other tech resources to fall back on. Half the world believes in him, but the other half, spurred by J. Jonah Jameson, thinks he’s the traditional “menace.” Exposure has ruined his life and forced him to grapple with the sort of problems so many other Spider-Men (Spiders-Man? Spider-Mans? Homines Aranearum?) have faced over the years.
So he goes to Doctor Strange for help. The dynamic between Peter and Stephen/Sir is a low-key strength of the film. It completes Sony’s presumably bargained-for requirement that at least one major MCU star have a substantial supporting role in each Web-Head film. (See also: Robert Downey Jr., Samuel L. Jackson, Martin Starr.) It provides a reasonable in-universe excuse for a non-magical, mostly street level hero to play around with parallel dimensions. And it builds on the shared experiences Spidey and Strange had in Infinity War. There’s antagonism between them, but also a budding mutual appreciation which pays off in unexpected ways.
When Doctor Strange tries to help Peter, though, things go awry. Peter asks that the world forget he’s Spider-Man, only he keeps trying to add exceptions for the people he wants to stay in the know. The complications disrupt the magicks involved, and while Strange is able to contain the botched spell, it manages to accidentally draw in Spidey’s foes from other corners of the multiverse, a tantalizing setup for fans who’ve been watching the wall-crawler in action since 2002.
That’s right! Dr. Octopus, The Green Goblin, The Lizard, Sandman, and Electro all pop into the MCU after the events of the original Sam Raimi trilogy and Marc Webb’s Amazing Spider-Man duology. It is an absolute treat for fans who’ve followed the Web-Head’s cinematic trials and travails over the years. None of the performers has lost a step (and many manage to improve on their original outings). And watching them interact with each other, not to mention a different hero than “their” Peter, has all the crossover glee that comic book stories can deliver. Peter, for his part, is tasked by Strange with rounding them up so they can be returned to their proper universes.
Their interactions are hilarious. The baddies poke fun at one another and the eccentricities of their different stories and universes. At one point the film turns them into the world’s wildest sitcom, with four supervillains and a host of their helpers playing temporary roommates in a bachelor pad. As in all of the Watts films, the banter here is consistently on point. And even as the film loses a bit of its momentum in its “Four Men and a Spidey” section, watching Peter go back and forth with this collection of villains, while they spark off one another, is still a consistent treat.
There’s a catch though. Peter soon discovers that each of these baddies was pulled from their timelines right before they were about to perish, so sending them back is a death sentence. Dr. Strange is unmoved, but Aunt May pushes her nephew and surrogate son to give them the help they need. When push comes to shove, Peter can’t sit idly by and send these men to their dooms, even if it means another cool psychedelic, fractal-based fight with “Stephen” to get the time and space to try to heal them.
I love that twist so much. The only thing cooler than Spider-Man fighting a multi-dimensional version of the Sinister SIx is Spider-Man trying to save each of these villains who came to bad ends in each of the films that spawned it. It’s true to the spirit of the character, understanding his responsibility not just to protect the city or stop evil, but to try to show compassion and decency to those who need it. It’s a wonderful affirmation of the values that have undergirded Spider-Man from the beginning, with a challenge that cannot be encompassed by a simple smash-fest, but requires more altruistic motives, unique strategies, and psychological challenges for Peter.
It’s just as wonderful that the push toward kindness, the warning against “not my responsibility” thinking from Peter, comes from his Aunt May. Peter tries so hard to help these people, even though there’s an easy way out, because of her encouragement. And it comes at the cost of her life.
The most brutal gut punch in the film comes when the avuncular, seemingly reformed Norman Osborn turns out to have been plotting and scheming the whole time. At the moment of truth, he reveals his true intentions, powers up, and goes on the attack. It’s a hell of a turn, sold by Willem Dafoe’s convincing performance as a penitent Norman to that point. Even though the ensuing super-fight between him and Spider-Man is a fairly generic building-buster, the threat to Aunt May, and her eventual death at the Goblin’s hands, gives it a greater force.
In that, the sharpest choice in all of No Way Home turns out to be making Aunt May into Uncle Ben. The MCU spider-flicks have conspicuously avoided Peter’s overplayed origin story to this point. No scenes of spider bites. No uncle’s dying words. Nothing more than initials on a suitcase to suggest that traditional part of the character’s mythos is even a factor in this universe.
In one fell swoop, No Way Home fills in that gap with flying colors. We know Marissa Tomei’s Aunt May. We’ve watched her guide and care for Peter through two films. So when she’s the one who urges him to do good even when you’re inclined to look the other way, when she’s the one who tells him that with great power comes responsibility, when she’s the one who dies because of her nephew’s choices, it has more meaning and wounding force than any other cinematic depiction of Peter losing his mentor and inspiration. A smart, almost clockwork choice, brings this Spider-Man in line with his predecessors in devastating fashion.
It also speaks to the smart construction of No Way Home’s script, penned by Chris McKenna and Erik Sommers. Spider-Man reaches his lowest point, as all heroes seemingly must at the two-thirds mark of their movies. He’s tried his best, to help his friends, to save the bad guys, to put everything on the line for the greater good. And he not only failed but lost the most important person in the world to him in the process.
So who can lift from this funk, who can give him the wisdom and insight to go on? Two other Spider-Men, of course! McKenna and Sommers smartly make most of No Way Home a story that belongs to the MCU’s Peter. Sure, we get the dimension-crossing villains in play, and references to past adventures, but they’re all this Peter’s responsibility and cross to bear for most of the runtime. Only when he needs them most do the Web-Heads played by Andrew Garfield and Tobey Maguire show up.
And they are utterly fantastic! The script smartly introduces them apart from our Peter, giving the audiences a chance to reorient themselves to the characters and have a few laughs. There’s such cheer-worthy moments when each arrives, and such hilarious interactions when M.J. and Ned try to figure out what’s happening and each Spider-Man tries to prove they are who they say they are, to Peter’s friends.
But when push comes to shove, they find this universe’s Spidey lost and ready to give up on the roof of his school. His friends give him comfort, but his alternate universe counterparts give him perspective. Tobey and Andrew (you’ll have to forgive the naming convention in the spirit of clarity) speak of their losses, of Uncle Ben and Gwen Stacey. They tell Tom how those deaths led them down the wrong path, to things they ended up regretting, and how they want better for him. It’s the sort of comfort only a fellow Spider-Man could provide, with resonant words that speak to truths that stretch across their experiences and lift each of them up out of darkness.
Herein lies No Way Home’s arguably greatest achievement. It would be so easy to do less than this. It would be so easy to have Maguire and Garfield simply swing in for a cameo, or just jump into the fray for the usual “save the world” reasons, and expect audiences to cheer based on recognition alone. But this film not only builds on the stories and character growth these figures have already experienced, but uses their histories to inspire, caution, and comfort the latest Spider-Man in his darkest hour.
It works! The pep-talk gives MCU Spidey the motivation he needs to keep trying. He, his friends, and his new arachnid allies all work together to cure the remaining villains, and it is absolutely delightful. The multi-Peter team-up provides something I didn’t know I needed. At one point, Garfield’s character says he always wanted brothers, and it’s the perfect way to describe the dynamic between the different Spider-Men. There’s a sweetness, an easy familiarity, a source of mutual support among that simply snaps into place. A Spider-Verse team-up could thrive on novelty alone, but these three Peter Parkers make sense together in a way I wasn’t expecting, but ends up being the most endearing part of the film.
It’s also the most hilarious. The rapport among the various Spidies is outstanding on its own, leading to a host of great lines. But the film also pokes fun at the differences and eccentricities of the different movies cross-pollinating. Holland and Garfield marvel at Maguire’s organic web-shooters. Ned blanches when he finds out the fate of another Peter’s best friend. A call to “Peter Parker” elicits three simultaneous responses. There’s even some delightful meta-gags, like when Garfield laments feeling like a lesser Spider-Man only to be reassured that he’s amazing, or Maguire once again complaining about his wall-crawling back pain. There’s all sorts of little touches and great jokes that play on the unique scenario of continuities colliding and popular commentary on this uber-series of films.
Of course, it can’t all be fun and games. The group has to collaborate to lure in, battle, and ultimately cure the quartet of remaining baddies, each of whom gets a moment in the sun. The Statue of Liberty (remodeled to include Captain America’s shield) makes for a good home base of the climactic final set piece. And the ensuing multiball battle among Spider-Men and super villains finds a way to give the MCU Peter an edge and a reason to lead despite his comparative youth -- unlike the other Spideys, he knows how to work as part of a team.
The ensuing battle is fun, if occasionally confounding given the number of similarly-dressed heroes and a blur of villains smattered across indistinct scaffolding. It mainly works thanks to the continually entertaining dynamic of the different Peter Parkers working together, and the villains receiving their grace notes. The CGI lizard is still an ugly design, but this Dr. Connors gets to make a personal history-backed point about trying to fix people, and have a moment of recognition with his Peter. Sandman doesn’t have much in the way of a character arc, but still gets to swirl and impress with particle effects more than a decade since his last outing.
Electro comes out the best for his transition from one film series to another, as this universe’s “different energy” magically makes him into a much better (and better-looking) character, something the script wryly comments on. Sporting a modern, but more traditional design, Jamie Foxx finally gets to have real fun in the role, as basically an entirely new character. And he’s stopped by none other than Doc Ock, the only villain MCU Spidey managed to fix earlier, in a wonderful mini-twist. Alfred Molina, who fared the best of any of his counterparts in his original movie, continues to soar in the role here. And his arriving to help save the day is an excellent, minor tribute to the idea that not all of Peter’s good deeds go unpunished; some of them come back to him right when he needs them.
It speaks to how this movie gets both the big and the little things right here. So many of its choices not only delight you, they feel right. The energy-focused Electro is drawn to one of Iron Man’s arc reactors. Dr. Octavius grasps it and declares, “the power of the sun, in the palm of your hand,” the thing he was hoping to achieve in Spider-Man 2. He and Maguire’s wall-crawler share a moment of recognition, where Otto’s touched to see how this “dear boy” is all grown up. Ned discovers that his grandmother is right, he is, in fact, magic. M.J. goes from the eternal pessimist, preferring to expect disappointment rather than be blindsided by it, to reassuring her friends that they’ll go forth and kick ass here. There’s something worthwhile for anyone and everyone here.
There’s even brilliant visual echoes to prior movies. Garfield’s Spider-Man, who nearly steals the show both comedically and dramatically, manages to save this universe’s M.J. in the exact way he couldn’t save his universe’s Gwen. It’s an emotional payoff to a seven year old movie that still lands like gangbusters. It’s emblematic of No Way Home’s remarkable ability to not only invoke past events and characters from the Raimi and Webb films, but to pay them off, round them out, and in some cases even fix them. It extends Peter’s desire to save all of these lost souls and see the best in them to a meta level, evincing a similar wish in the heart of Watts and his collaborators with regards to the films that paved their way.
The ultimate challenge, though, comes in the form of the Green Goblin, the original Spider-Man villain, and the one who’s taken the most from Holland’s Peter Parker. The fight here is not a physical one, even as Spidey and Gobby do go toe-to-toe once more with our hero coming out on top. It’s a personal one, as the MCU Spider-Man must decide whether to exact vengeance upon this dastard who killed his surrogate mother, or to relent and try to fix him too.
It must be said that Dafoe gives a tour de force performance here, rivaling Molina himself and Michael Keaton among Spidey’s cinematic antagonists. He’s entirely plausible as an apologetic Norman desperate to be reformed, warming to this Peter as another surrogate son. And he’s an equal and opposite terror as the Green Goblin, menacing and insidious in ways that go beyond frightening, instead cutting to the bone. He growls at Holland’s Spider-Man that the altruism his aunt preached and which Peter himself has taken up, is a weakness, a pathology. He blames Peter for May’s death, arguing that it was Peter’s compassion, his willingness to try to help rather than just solve the problem by the simplest means necessary, that led to his aunt’s demise. These words carry extra sting in the shadow of Peter’s lingering sense of guilt for how his “controversies” have ruined the lives of those close to him.
As a lego figure in the film’s aftermath hints, Osborn is basically demanding that Peter turn to the dark side. And like the other fresh-faced heroes before him, he stays strong in the light. Only he’s not alone. The other Spideys figure into the finish in ways that are meaningful without stealing the spotlight. Maguire’s Spider-Man holds back a vengeful Peter from stabbing his foe with the Goblin’s glider, a weapon whose deepest cuts he knows all too well, and Garfield’s wall-crawler delivers him the cure. Despite everything, despite his justified anger and the ease with which he could give into it, Peter instead decides to save and forgive even his aunt’s killer, a man who can then only sit and wonder “What have I done?”
I can think of no greater tribute to the spirit of Spider-Man and the character’s legacy across a multi-media empire. The choice to save someone when you have every reason not to, when you’d rather vindicate the values of your lost mentor rather than merely avenge them, is a triumph of the character’s abounding heart and compassionate ethos. Peter chooses to do good, when his powers make it physically easy, but his life makes it emotionally impossible. That, more than anything, is Spider-Man.
Only he’s not done. The ongoing wrinkles of Doctor Strange’s original spell are tearing reality apart, and the only way to stop it is a counter-spell with a tremendous cost: everyone must forget Peter Parker entirely. His best friend, his young love, his allies from across the universe, will no longer know him. And he suggests it, chooses it, because he’ll willingly lose everything to save everyone.
I’m always hesitant about uber-magic as the solution to problems, but there’s an emotional logic here that lets this tack succeed. What matters here isn’t Strange’s spell, which runs into all sorts of logical problems if you start to try to untangle what it means in practice. What matters is Peter’s willingness to give up his life, the friendships that have sustained him, the resources that have helped him, in the name of the greater good.
There’s something profoundly heartening-yet-melancholy in that. In a small way, the Goblin wins, convincing Peter that he is, in fact, a source of hardship to those close to him. Even when he walks into the donut shop where M.J. works, a speech in hand to try to find his way back into her good graces despite the erasure of their shared history, he relents when he sees how happy she and Ned are. He is, like so many Spider-Men before him, unwilling to make even people he cares deeply about a part of his life if it means disrupting their joy and putting them at risk. There as well rests the heart of what Spider-Man is about: great sacrifice, immense suffering, enduring karmic unfairness, in the name of doing the most good.
With that, No Way Home is one of those miraculous films that takes on so much and yet somehow achieves everything it sets out to do. It tells a compelling story of the MCU Spidey losing everything and still striving to uphold his Aunt’s values. It takes on the chief criticisms of this version of the character, bringing him more in line with traditional depictions. It honors eight films’ and three continuities' worth of stories and characters, integrating them into a seamless whole. It pays off and even fixes dangling threads and broken character arcs from prior movies, providing rousing, cathartic endings for familiar heroes and villains alike. And despite feeling like the culmination of so much, it forges a new origin story for Spider-Man, one that clears the board for more adventures while still offering a heartening conclusion to the ones of old.
In the end, Peter chooses mercy over vengeance. He chooses tremendous self-sacrifice over personal gain. He finds strength in his closest friends and likeminded counterparts. He saves those even his would-be teacher thinks unsalvageable. He gives up everything, loses everything, and despite it all, chooses to start again and help people, to carry on the spirit of the lost parent who molded him into the extraordinary person he became. If that’s not Spider-Man, I don’t know what is.
The strength of this franchise has always been the beautiful, imaginative and whimsical world of beasts. The CGI is stunningly crafted. The interaction between actors and imaginary beasts isn’t always seamless, though, and the handling of the Qilin by either actor fell short of believability. Neither seemed to know where it began or ended. This was true of other animals as well, so, what were supposed to be tender moments felt like groping in the dark.
As much as I like Eddie Redmayne, his character felt trapped in his shyness this film with no highs or lows that contributed to the flow of the action. I felt Ezra Millers’ Credence was much better drawn this outing and I felt his struggle. The longing of Jacob for Queenie and her internal struggle were beautifully written and performed.
Overall, I feel this film was so much better than the last film, has many of the strengths of the first film, but the wizarding battles were so much just batting around wands and tearing things up (that eventually were magically restored) that there never felt like there was real peril. Similarly, I felt the plot and mystery was laboured and flat. Movies this grand have so much potential, that to turn out just “good” seems such a let down, but I give this film a 7 (good) out of 10. [Fantasy Adventure]
The reaction to this movie has been a “love it” or “hate it” outcry. I think the dividing line of responses is whether or not it fits the Marvel mega-action template and if that is okay or not. Just to deal with that question out of the gate, this does not fit the Marvel cookie cutter. There are a variety of differences. It is diverse in both casting and subject matter. The cast is international, multinational and multi-ethnic. We have our first openly gay superhero. We have our first hero who is deaf. We have our first hero to struggles with their mental health. All artfully and beautifully presented, in my opinion. This is not a single character’s origin story. It is 10 characters’ origin story spanning over 7,000 years, plus the introduction of 3 distinct and new species: Celestials, Eternals and Deviants. It also acknowledges superheroes from other universes, like the potshots at DC’s Superman. There are also some Marvel staple components, humour, brilliant CGI, fight scenes and world weaving. This film is also beautiful, in its casting, cinematography, graphics and music. The story is rich and the immense timeline is artfully woven into small bites. There is also a deeper treatment of relationships and some mature but tasteful scenes. The draw for me was Marvel and the stellar cast, especially Gemma Chan, whose career I’ve been following for a long time, now (do yourself a favour and binge her filmography). I have to confess that when I left the theatre I wasn’t sure how I felt about the movie. Then, I heard Rotten Tomatoes gave it the lowest of all ratings for a Marvel movie (49%) and the critics who saw early releases were brutal. But, I also read the positive reviews by ordinary theatre goers and in writing this, I’ve decided to give this film an 8 (great) out of 10 and, personally, I look forward to seeing it again. [Superhero Action Adventure]
This is an honest, spoiler-free review coming from your average fan (not a critic):
I just saw this new marvel film, and I have to say... it's no where near as bad as the critics make it out to be.
Yes there is a lot of dialogue. But it gives the characters a chance to shine and for scenes to breathe.
People call this film dense. I would disagree. Yes there is a fair bit of plot and history told, however I would say that other mcu films have simply much simpler plotlines most of the time.
There are moments when things are just about to become exciting, and then it is interrupted with more dialogue which instantly kills the suspension.
There are a number of plot twists in this film, and some unexpected things happen that I wouldn't have seen coming.
This film has a slow burn, but sometimes that's a good thing. Would I have liked more action? Yes. Was I unhappy with the action we do get? No.
I will admit, going into this film I was expecting a masterpiece, and while I wouldn't quite call it that, its definitely a well-made film, marvel or not.
Oh. And expect to have to do some reading at the very beginning. Kinda reminds me of a classic Star Wars opening crawl.
My impression after just finally watching this...
First 40-45%: 4/10.
So many scenes felt clipped, rushed into the next, with not nearly enough connection to follow what was going on or why. Visually impressive, and I had the distinct impression that something big and interesting was going on, but I was very confused about what it was.
Last 55-60%: 7/10.
A little after we meet Sator, events started flowing somewhat more understandably. Still a bit confused here and there, but not as much. And the big ambitious sequences closer to the end were mostly well-executed (and in stunning detail), including some loopbacks that belatedly filled in some of the earlier-on confusion while completing the story well. Still not quite up to the greatness level the ads promised, IMO, but better.
I have the impression that a second watch would make more sense, in part due to some of the revelations near the end. My issue is that a second watch shouldn't be this necessary to get the story enough to appreciate it.
While I appreciate some degree of mystery and confusion up front that gets explained later on, that doesn't quite work any more when the confusion reaches a level that I don't understand why people are doing what they're doing.
I suspect that this would have been much better if given the additional time to flesh things out, especially the first half. Maybe as a limited series over four to six hours.
