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Spider-Man: No Way Home Review: Amazing, Spectacular, Superior

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Spider-Man: No Way Home Review: Amazing, Spectacular, Superior

Simply put, movies do not have the capacity to recreate the experience of reading comics; the logistics are just impossible. While writers and artists behind the many, many, many titles at Marvel can monthly orchestrate all varieties of team-ups and spin stories with decades upon decades of specific precedent, live-action blockbusters are generally ensconced in limitations – from complex scheduling, to budgetary restrictions, to the simple existence of time forbidding characters from eternally existing at the same age as they do on the page.

What has made the Marvel Cinematic Universe such a special experiment, however, is that it creates the illusion that the impossible is possible. The restrictions of the medium all still exist (the franchise doesn’t have immunity from the laws of reality), but challenging logistics are matched by extreme ambition that aims to destroy as many walls as possible. The concept of assembling the likes of Iron Man, Captain America, Hulk and more in a big screen canon used to be an extreme pipe dream, but that idea seems exceptionally simple and obvious now that we are nearly a decade past the release of 2012’s The Avengers and have experienced everything that the MCU has accomplished, from Captain America: Civil War to Avengers: Endgame.

It’s from this still-nascent tradition that Jon Watts’ Spider-Man: No Way Home derives, and it is phenomenal. It’s a blockbuster that not only has the intention of moving forward the story of the Marvel Cinematic Universe’s Peter Parker in the aftermath of the character’s previous adventures, but also aims to examine the awesome and mixed history of the titular web-slinger on the big screen. It’s an exceptionally complex assignment, but one that makes the movie’s extreme accomplishments all the more impressive to behold.

Spider-Man: No Way Home begins by immediately connecting with something that has existed at the heart of the eponymous hero from the beginning of his existence: misery. Peter Parker (Tom Holland) may be a fun-loving quip machine, but he is also a teenager who would love to have a normal existence and can’t because of the responsibilities that come with his special gifts. And while he is typically also tortured by the fact that he has to keep his real identity a secret from those who would harm the people he loves, things are made a thousand times worse after controversial media mogul J. Jonah Jameson (J.K. Simmons) reveals Peter’s name and face to the world.

It’s bad enough that the kid can’t go anywhere in public without people snapping photos or leveling accusations at him, but a far worse source of pain for him is the effect that the news is having on Aunt May (Marisa Tomei), his girlfriend M.J. (Zendaya), and his best friend Ned (Jacob Batalon). They are also harassed and are deemed guilty by association, and a true gut punch is delivered when Peter, M.J., and Ned all get rejected by their dream school, the Massachusetts Institute of Technology, specifically because of their association with Spider-Man.

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Not wanting to cause any more pain, Peter ventures over to 177A Bleecker Street to pay a visit to Doctor Strange (Benedict Cumberbatch) – the two of them having previously fought side-by-side in Avengers: Infinity War and Avengers: Endgame. In an attempt to alleviate everyone’s suffering, the young hero requests that the wizard cast a spell that makes everyone in the world forget who is under Spider-Man’s mask… but things go sideways when he alters his wishes mid-procedure, hoping that Aunt May, M.J., Ned, and Happy Hogan (Jon Favreau) can be exceptions to the brainwashing. On top of this indecision causing the magic to fail, Strange’s operation results in a number of fractures in the multiverse, allowing reality to be invaded by certain other notable individuals who possess the knowledge of who the friendly neighborhood wall-crawler really is.

Spider-Man: No Way Home faithfully adds to the awesome legacy of the character while also successfully improving elements of the past.

It’s no secret at this point that Spider-Man: No Way Home is stacked with villains who were previously established in the non-MCU Spider-Man movies – specifically those directed by Sam Raimi and Marc Webb – and while this creates an interesting juggling act for the film, much of what is impressive about it is both how it handles all of them, and how it puts the story in a position to reflect on the totality of the character’s big screen legacy. In addition to each of the antagonists properly getting their own special roles to play, their relationships to Peter Parker and their circumstances each have their own way at getting at the core of who Spider-Man is, and it’s a brilliant celebration. Though he is surrounded by conflict, he has a deeply embedded utilitarian philosophy that demands that he always try and do the greatest good for the greatest number (even if it means expanding his aforementioned personal misery).

It surely goes without saying that it is utterly delightful to see Alfred Molina’s Otto Octavius/Doc Ock and Willem Dafoe’s Norman Osborn/Green Goblin back in action, as those interpretations of the comic book characters left an indelible mark on pop culture in the early aughts, but what is actually impressive is seeing Spider-Man: No Way Home offer redemption for the villains from the… less appreciated Spider-Man movies. In this respect, Jamie Foxx’s Max Dillon/Electro benefits the most, as it strips away all of the unnecessary goofiness from Amazing Spider-Man 2 and unleashes a legitimate threat, but Thomas Haden Church’s Flint Marko/Sandman and Rhys Ifans’ Curt Connors/Lizard both get proper, exciting roles to play in the aftermath of Spider-Man 3 and The Amazing Spider-Man, respectively.

The movie is the most emotional MCU Spider-Man movie yet.

Following Spider-Man: Homecoming  and Spider-Man: Far From Home, Jon Watts successfully delivers many of the key elements fans expect from the series – as there are thrilling, carefully choreographed action sequences that make you want to leap from your seat, and a spectacular number of laugh-out-loud moments – but it also stands apart by being the most somber story we’ve seen yet centering on Tom Holland’s Peter Parker. The threats are more extreme than anything he’s previously faced alone, but also amped way up are the emotional stakes and maturity – the protagonist plunged into multiple circumstances and decisions that fans will register with a pain in the middle of one’s chest. More important than anything else, it’s all earned.

Tom Holland, Zendaya, Benedict Cumberbatch, and Alfred Molina are all remarkable, but Willem Dafoe is the MVP.

An abundance of witty humor and sharp, character-driven drama means that the entire cast has fantastic material to work with in Spider-Man: No Way Home. Tom Holland delivers a wonderful turn that demonstrates fantastic evolution for the character; Zendaya gets a more substantial role as M.J. that highlights her fantastic weird energy; Marisa Tomei’s Aunt May gets a much appreciated enhanced role that delivers more agency and personality; and Benedict Cumberbatch is as funny as we’ve seen him in anything before. Just as he stole the show in Sam Raimi’s Spider-Man, however, the most phenomenal presence in the cast is Willem Dafoe’s Norman Osborn, who flips from innocent to psychotic with genius ease portraying the split personality villain. Every moment you’re watching him turns the screen into an eye magnet, and if there’s anything to complain about it’s that there isn’t more, more, more.

Every Marvel fans in the world has high expectations for Spider-Man: No Way Home, and expectations can be a devilish thing. While studios will always encourage them as a means of getting butts in seats, they can often be the downfall of a much-hyped project, as what is presented cannot live up to what exists in one’s imagination. It’s a subject that is directly addressed by Zendaya’s M.J. in the new film – who repeatedly remarks that if one expects disappointment one can never be disappointed – but such a pessimistic perspective is unwarranted in this particular case. Jon Watts’ blockbuster is the movie that audiences are presently mentally preparing themselves for, and one of the greatest Marvel adventures to date.

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Bullet Train Review: A Wickedly Funny, High-Octane Thrill Ride

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Bullet Train Review: A Wickedly Funny, High-Octane Thrill Ride

Brad Pitt leads a wickedly funny ensemble in a high-octane actioner loaded with twists. Adapted from the 2010 Japanese novel by Kōtarō Isaka, Bullet Train has a bevy of disparate assassins manipulated by a mysterious criminal mastermind. Stuntman turned action director, David Leitch (John Wick, Atomic Blonde), stays true to form with unrelenting bloody and flamboyant violence. The codenamed characters get downright verbose before beating, stabbing, and shooting each other to bits. The loquacious banter tends to run long, but the narrative always bounces back with sharp reveals. Strap in for a helluva ride.

Ladybug (Pitt) boards the overnight bullet train to Tokyo with a newfound sense of self. He’s chock-full of philosophy after recovering from a near fatal ambush. Ladybug ignores his unseen handler’s advice to take a gun. Surely any issues can be resolved peacefully. The job seems straightforward enough. Steal a briefcase with a sticker and exit at the next stop.

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Also on board are Lemon (Brian Tyree Henry) and Tangerine (Aaron Taylor-Johnson), ruthless “twins” known for their brutal methods. Lemon is obsessed with the British children’s show “Thomas & Friends”. He reads people by comparing them to the anthropomorphized trains. The twins are escorting the previously kidnapped son (Logan Lerman) of a powerful gangster, the White Death (Michael Shannon).

None of the hired guns are aware of the Father, aka Yuichi Kimura’s (Andrew Koji), mission. He’s out for vengeance but foolishly runs into a deceptive figure. The Prince (Joey King) has a score to settle with the White Death. Meanwhile, the Wolf (Bad Bunny) joins the fray after his truly horrific Mexican wedding. He’s also ready for serious comeuppance. Ladybug quickly realizes they’re all unwitting pawns in a dangerous game. Someone has packed the train with killers for an unknown purpose. He desperately wants to get off but can’t seem to escape the carnage.


Related: I Love My Dad Review: Patton Oswalt’s Delightfully Cringeworthy Catfishing Comedy

Cast of Bullet Train

Bullet Train introduces the cast with splashy entrances that flashes back to their dark pasts. The murderous montages are informative but don’t fill in every gap. The script doles out more critical information as the bodies pile up. Alliances bounce back and forth as everyone wonders who’s actually pulling the strings. The whodunit element works well as the audience becomes embroiled in a series of betrayals. You don’t have a sense of the plot’s true trajectory until the third act. The film builds to a showdown that delivers a huge action payoff.

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Bullet Train has complex characters that each contribute slices of devilish humor. Brad Pitt preaching self-help and understanding is an effective gag throughout. Brian Tyree Henry’s constant comparisons to Thomas & Friends aren’t as comical but play an important role in the story. There are a lot of moving parts. Leitch, who worked as Pitt’s stunt double for years, is clearly fond of his players. He gives everyone a chance to babble incessantly. I would have trimmed the dialogue to be more incisive.


The action scenes are worth the price of admission. Leitch has a great eye for mixing stylized set pieces with intimate fights. He knows when to go big and small. You never feel let down by his pacing. There’s always the right amount of adrenaline to keep your pulse pumping. Bullet Train is another feather in a skilled filmmaker’s cap. Watch out for A-list cameos and a mid-credits scene.

Bullet Train is a production of Columbia Pictures, Fuqua Films, and 87North Productions. It will be released theatrically on August 5th from Sony Pictures.

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Bullet Train Review: Brad Pitt Has A Blast In The Silly And Badass Action Comedy

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Bullet Train Review: Brad Pitt Has A Blast In The Silly And Badass Action Comedy

If orchestrated properly, with adjusted stakes, tone, and atmosphere, there can be a beautiful, symbiotic relationship between intense action and comedy. A hero pulling off a rapid and vicious series of blows against an opponent can be savage and dramatic in one context, but it can also be so deliriously awesome that an audience’s first reaction is to laugh. Fast paced martial arts can be used for wonderful physical humor (see: the legendary career of Jackie Chan), and the best examples provide dual layers of entertainment: you marvel at the skill in all the ass-kicking, and cackle at the creativity in the choreography.

This is a sweet spot that filmmaker David Leitch knows well. After peppering funny moments in John Wick and Atomic Blonde at the start of his directorial career, he brilliantly utilized the action/comedy weapon that is Ryan Reynolds in Deadpool 2, and crafted some excellent physicality with the unique styles of Dwayne Johnson and Jason Statham in Fast & Furious Presents: Hobbs & Shaw. His latest, Bullet Train, is another effort that takes aim at that particular tonal target, this time with his most expansive ensemble yet, and it’s another success. With a sensibility that could be described as early Guy Ritchie with more specific action focus, it’s a movie that is both silly and skilled and inspires its primary star in particular to do energetic and engaging work.

Based on the novel Maria Beetle by Kōtarō Isaka, the film weaves multiple narrative threads through the cars of the titular bullet train as it speeds through the country of Japan – all of the protagonists being killers with their own particular reason and motivation for being aboard. Ladybug (Brad Pitt), for example, is a hired gun who has been tasked by his handler (Sandra Bullock) to perform what sounds like a simple job: find a briefcase marked with a train sticker and steal it. What he doesn’t know, though, is that said briefcase belongs to a pair of British hit men named Lemon (Brian Tyree Henry) and Tangerine (Aaron Taylor-Johnson), and that the contents include the recovered ransom for the kidnapped son (Logan Lerman) of a powerful crime lord known as The White Death.

Meanwhile, Kimura a.k.a. The Father (Andrew Koji) is on the bullet train because he is on a mission of vengeance – hunting down the person responsible for nearly killing his son by pushing the boy off of a building. What he doesn’t expect is that the individual he is looking for is a young woman identified as The Prince (Joey King), and that she has purposefully gotten him on the high speed rail with the intention of forcing him to execute an assassination attempt.

And while five killers sharing the space would be enough for most movies, Bullet Train actually has even more that pop in and surprise throughout the film’s runtime – and their roles are worth keeping as a secret pre-release.

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Bullet Train has a chaotic storyline, but the pieces properly connect as a fun puzzle.

Narratively speaking, Bullet Train is a messy movie to put together, as focus briskly ping-pongs between the different players, but everything stays in harmony as the film persistently finds ways to build on each protagonist’s arc. This is particularly cool later in the movie as different characters are drawn together from individual angles and instant conflict is generated from their simple interaction.

The film is at its best when it keeps things simple, but it does let things go off the rails at times (if you’ll pardon the pun). This is especially true as it gets into the third act and it tries to pull off stunts like one of the leads leaping from a platform on to the back of the train as it leaves a station; it’s both a problem for the “rules” of the universe and in its strained use of visual effects. The movie also frequently tries to get a bit too cute and Tarantino-esque with what are admittedly familiar-but-not-quite-stock characters – the most prominent example being an ongoing and quickly tiresome gag with Lemon explaining that he understands people through the lens of Thomas The Tank Engine.

Primarily, though, it’s a movie that is able to generate its entertainment with engaging and quippy dynamics between the members of the ensemble, both when they are talking out their issues and trying to kill one another.

David Leitch puts a lot of exciting and weird fights in a confined space, and is at its best when working with a “less is more” philosophy.

Coming from a stunt background, both as a performer and a coordinator, David Leitch’s bread and butter remains deftly and specifically choreographed action sequences, and Bullet Train proves to be a terrific challenge and opportunity for his skills. Regardless of where you are in the titular transport, space is not a luxury, and the best fights in the movie are those that are being fought only between the characters, but against the limitations provided by the location.

There are guns, knives and explosives in the mix, but Bullet Train also has some terrific “found item” moments that add spice and humor to the various showdowns, whether it’s a pocketed cell phone saving a character’s life from a blade, a laptop making for a solid cudgel, a water bottle making for a useful projectile, or a venomous snake showing up at a perfect moment.

Once again we see David Leitch work a special magic turning dramatic and comedic actors into badasses with slick and stylish moves, and while everyone shows off some terrific skills, it’s very much the Brad Pitt show at the end of the day.

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Brad Pitt’s joy in the role of Ladybug is palpable.

At the nexus of everything good in Bullet Train is Brad Pitt, who very clearly had a blast reuniting with David Leitch (who performed the actor’s stunts in films including Fight Club, The Mexican, Mr. And Mrs. Smith and Troy). He’s a joy to watch in action not just because of the talented craft he demonstrates in his physicality, but how he channels the psychology of the character. As we meet him, Ladybug is reluctantly getting back into his business following a number of important breakthroughs with his therapist, and Pitt does a fantastic job conveying that he doesn’t ever want to choose violence as a first answer – both via verbal pleas and defense-heavy moves. Action/comedy is a genre he should revisit a lot more often.

Bullet Train doesn’t aim to revolutionize hitman movies, but instead plays with a tongue-in-cheek vibe that lets you recognize the tropes and appreciate how the film plays with them. It’s a slick/goofy action movie that is both contained and wild, and a satisfying late summer release.

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Luck Review: A Spectacular Debut Film from Skydance Animation

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Luck Review: A Spectacular Debut Film from Skydance Animation

The world’s unluckiest woman enters a magical land to change the fortunes of a fellow orphan. Luck will make you smile and possibly shed a few tears. The big-budget, CGI animated fantasy shines a spotlight on needy children while telling a truly original story. An assortment of lucky critters and creatures dazzle in a spectacular setting. The highly imaginative narrative gives age-old superstitions a dynamic new spin. Luck is a brilliant first film from Skydance Animation.

Sam Greenfield (Eva Noblezada) reaches her eighteenth birthday with trepidation. She’s finally aged out of the foster care system. Sam never found her “forever family”. She spent her entire life living in orphanages. It doesn’t help that Sam has the worst luck. Everything she does or touches ends in abject disaster. Her only thoughts are for young Hazel (Adelynn Spoon), Sam’s roommate at the girls home. Sam has been set up with a job and tiny apartment. She has to stay in school and employed to remain housed.

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Sam’s first day at Marv’s (Lil Rel Howery) floral shop goes exactly as expected. She sadly eats dinner sitting on a sidewalk. Sam learns that Hazel’s weekend trip with a foster family was canceled. She gives half of her sandwich to a curious black cat. It scampers away but leaves a strange penny behind.

The following day is a revelation. Sam’s lucky penny changes everything. Her ecstatic mood sours when she loses the penny in spectacular fashion. Stewing on the sidewalk, Sam’s surprised when the black cat returns. She’s astonished when Bob (Simon Pegg) asks for his penny. The “travel penny” is the only way a creature from the Land of the Luck stays safe in the human world. She follows an unnerved Bob back through the portal to the Land of Luck. Sam has to find another lucky penny to help Hazel. Bob reluctantly agrees, but they have to be careful. Misdeeds end up in banishment to Bad Luck.

Related: Bullet Train Review: A Wickedly Funny, High-Octaine Thrill Ride

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The Land of Luck

The Land of Luck is an absolute joy to behold. Leprechauns, cats, pigs, and rabbits, lucky creatures, are the bureaucrats tasked with spreading good fortune. Bringing Sam in such a place is a recipe for absolute chaos. Bob, and his leprechaun assistant Gerry’s (Colin O’Donoghue), efforts to contain Sam’s bad luck will have audiences in stitches. I’m still chuckling at Sam’s “Latvian leprechaun” disguise; their harebrained excuse for why she’s so much bigger than everyone else.

Luck’s serious themes are artfully addressed. Sam’s lonely childhood, and her desperate efforts to change Hazel’s, brings a melancholic touch to the narrative. The film reminds us to not take love and family for granted. Every kid deserves care, nurturing, and a safe place to grow. It shouldn’t take luck or chance for a child to find a “forever home”.

Insert sigh here. Recent headlines concerning John Lasseter (Toy Story, Cars) will undoubtedly cloud this film’s release. The genius storyteller and animator behind Pixar’s success left to head Skydance Animation after awful “Me Too” allegations. He’s brought his incredible talent to Luck, and it shows. This wonderful film deserves to be judged on its own merits. Sometimes we must divorce ourselves from art and the personality of the artist.

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Luck is a production of Skydance Animation and Apple Original Films. It will have an exclusive Apple TV+ premiere on August 5th.

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