Wesley R. Ball’s review published on Letterboxd:
Ever since I first played Spider-Man 2's video game companion on the Nintendo GameCube way back in the mid 2000's, I dreamed of a day where we would see Mysterio on the big screen. He was always such a fascinating villain to me- a trickster with the power of illusion at his fingertips capable of confusing even the strongest of heroes. But behind all the trickery and deceit is simply a man with a fishbowl on his head- and some really expensive CGI.
Seeing him being done near complete justice in Far from Home was an absolute delight- despite a few minor qualms about specific holes in his story near the start, everything is done with him exactly as I would have wanted it to be. Aside from him, however, this is an exceptionally worthy follow-up to Homecoming- a rumination on letting go of those you lost and moving forward and honoring the dead by taking up their legacy just as they had intended.
Sony and Marvel's continuing partnership seems to be a fantastic benefit for their beloved webslinger, allowing them to share a universe that has enjoyed the better part of more than a decade being built up and torn down over and over again in front of millions of people. There are, of course, some confusing bits between both of Sony-Marvel's solo Spider-Man films concerning when they take place- starting with 2017's Homecoming taking place in 2020(?) and then this one taking place some five (maybe more) years after that. There's a struggle to keep continuity between the MCU and these solo outings, but to nitpick away at its time displacement would be to strip these films entirely of what they're meant for- pure exhilarating entertainment.
Zendaya is probably my favorite MJ yet: she's cute, fun, carefree, a little nerdy- a perfect match for this universe's Peter Parker. It's a relief, then, that she has a much bigger role in this follow-up, as expected, but she completely steals the show for me personally. She's not a self-centered prick like Sam Raimi's Mary Jane was; but an actually decent human being worthy of a hero's love and adoration. They're an adorable match, for once, providing a natural relationship aesthetic that doesn't quite feel just inserted in out of necessity.
Comic book films have evolved and changed drastically ever since Iron Man burst onto the scene in 2008. It was absolutely revolutionary for the genre- changing and turning all the standard tropes and ideals on their sides in favor of complete and absolute anarchy. Far from Home continues that tradition while still staying true to Spider-Man's core concepts, although a tricky post-credits scene (along with the return of a very welcome familiar face) has massive implications and questions as to how this trilogy will wrap itself up. Sony will have a field day trying to come up with a "Home"-themed title for their grand finale, and I'm more than curious as to who they'll come up with for Tom Holland's Spider-Man to be pitched against. The possibilities are limitless.