IronWatcher’s review published on Letterboxd:
Watched on Blu-Ray
It has been about 9 months since Avengers: Endgame probably THE cinema event of the year stormed the screen and set numerous box office records. After all, the film was conceived as a grand finale for the Marvel Cinematic Universe, which comprises more than 20 films, with lots of references to its own film history. The plan worked out, at least commercially. Endgame is now the most successful film of all time. Some will have asked themselves, however: And how should that continue?
Spider-Man: Far From Home has this rewarding and thankless task of being the first story after this event. This increases the chances of commercial success, but also quickly seems like an appendage that is somehow added. The screenwriters Chris McKenna and Erik Sommers, who were already involved in the predecessor Spider-Man: Homecoming, are also very aware of this special position. Again and again there are references to Endgame, especially to Tony Stark, Peter's former mentor and substitute father. The obsession with the past is not as pronounced as in Engame or as the introduction suggests.
In fact, it's even pleasant how little Spider-Man: Far From Home depends on the many other parts. There are the usual little references and of course Nick Fury, who, as already in Captain Marvel, has a bigger role again this time. But most of it works completely detached from the universe.
The charm of Spider-Man: Far From Home lies in the fact that someone has to be a hero, who actually can't be one yet. Peter is a teenager who on the one hand wants to do cool things and likes his job, but on the other hand is plagued by a lot of self-doubt. Above all, he is in love. And when teenagers are in love, it has to wait a little bit to save the world. Or not: Both collide again and again, the earth must be protected from gigantic dangers, while at the same time an insecure boy shoots longingly over to his girl. This contrast is again accompanied by a lot of humour. That's not unusual, oneliners are an integral part of the successful concept of the series. But only a few parts manage to do this with such naturalness. Here, humour arises from the situation, not because a screenplay consortium has determined it this way.
At the same time, the emotional aspect is stronger than in any other Marvel film. Especially because Peter Parker isn't the heroic figure of his colleagues, but a completely normal boy who purely by chance has superpowers, it's easy to put yourself in his shoes. Spiderman sees himself as the hero of the neighborhood, awakens the feeling of being one of us even when he is doing gymnastics through dizzying heights, making somersaults or saving buildings from collapse with his own hands.
Towards the end, the whole thing is a bit overflowing. The bombastic finale wants to show off so strongly that you don't even know what's actually happening here. That's partly the intention, the film wants to make the audience not trust their own eyes anymore. Nonetheless, it's obvious that the spectacle is the end in itself, director Jon Watts grants some very unusual insights, but it slips away a bit. These CGI-fireworks don't make much sense anyway. But it's fun, of course. In a direct comparison the first part of the reboot was even stronger, a comparable nerve duel as with Michael Keaton is missing this time. Anyway, the opponent doesn't have a comparable presence or a comparable emotional foundation, the motivation isn't nearly as strong, but Jake Gyllenhaal's convincing acting makes it comprehensible. The scene in the bar where he channels Tony Stark gave me goose bumps.
But despite these small weaknesses, Spider-Man: Far From Home also belongs to the best titles in the MCU, not least because Tom Holland fills the familiar character with so much life, charm and infectious joy that you feel like you are on a class trip, too.
To read my review right after the cinema visit, please click here: