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‘Spider-Man: No Way Home’ Spoiler Review: Too Much of a Good Thing

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‘Spider-Man: No Way Home’ Spoiler Review: Too Much of a Good Thing

In Spider-Man: No Way Home, MJ (Zendaya) has a maxim that basically goes like, “You should expect to be disappointed, that way you’re never disappointed.” For the young characters, who are looking to get into MIT, disappointment is the worst possible outcome. It also seemed like the filmmakers behind No Way Home were desperately afraid of disappointing the fans. The fans had expectations for what a Spider-Man movie in the multiverse should be, what they wanted to see, and they would be very upset if they did not get it. Sony, eager to make as much money as humanly possible from this sequel, would be more than happy to give the fans what they wanted. But good storytelling is not necessarily about giving your audience what they want, but what they need even if that means upending their expectations. That’s why Spider-Man: No Way Home largely feels like bad fan-fic—an attempt to rewrite past stories into something pleasing. Is it fun? Sure, in the same way as eating a bunch of sugar is fun, but you don’t really feel great about it afterwards.

At the end of Spider-Man: Far From Home, Mysterio (Jake Gyllenhaal) revealed that Peter Parker (Tom Holland) was Spider-Man. While Peter is awkwardly cleared of charges of killing Mysterio (the whole thing doesn’t make much sense and the first half of the film’s plot is a mess), the world now knows he’s Spider-Man and thinks he may also be a murderer. Peter wants the world to go back to the way it was before his secret was out, so he goes to Doctor Strange (Benedict Cumberbatch) and asks him to turn back time. Strange says he can’t do that anymore, but he can cast a spell to make everyone forget that Peter is Spider-Man (messing with people’s memories seems deeply immoral, and the film doesn’t explore this at all!). However, during the casting, Peter keeps interrupting with people he wants to know his secret, so the spell goes haywire and opens the multiverse to allow in other people who know Peter Parker is Spider-Man. This means facing off against villains from the Tobey Maguire Spider-Man movies—Green Goblin (Willem Dafoe), Doc Ock (Alfred Molina), and Sandman (Thomas Haden Church)—as well as the Andrew Garfield Spider-Man movies—Lizard (Rhys Ifans) and Electro (Jamie Foxx).

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RELATED: ‘Spider-Man: No Way Home’ Review – Tom Holland Shines In a Too-Crowded MCU Multiverse

Far From Home makes clear that while Sony and Marvel finding a way to make these movies is a spectacular business achievement, it’s been a raw deal for Spider-Man as a character. Tom Holland continues to excel in the role because he’s a charming guy and knows how to play up the gee-whiz aspects of a young Peter Parker. He’s also helped tremendously by being able to bounce off MJ and Ned (Jacob Batolon). But this is now the fifth movie with Holland as Spider-Man, and I could not tell you how he has really grown or changed or what drives his him through these stories because the MCU Spider-Man is whatever that particular movie needs him to be. To put it another way, you could stroll into No Way Home having never seen Homecoming or Far From Home and not have missed anything important about who Peter is as a character. He doesn’t grow between movies as much as he’s just got a different conflict, and it’s a conflict that frequently overshadows his personal stakes.


For No Way Home, his conflict is about the “with great power comes great responsibility” canard, which is weird because Captain America: Civil War heavily implies that Peter had already learned that lesson from the death of Uncle Ben. Here, Peter is now willing to shun his responsibility if it means sending the supervillains back to their own universes even though they’ll likely die (also the multiversal aspects don’t make much sense, so don’t try to sort it out; these characters know each other but they’re also from different points in a timeline and all that really matters is that they got the characters to be in this movie). It’s Aunt May (Marisa Tomei) who imparts the lesson that people deserve a second chance (again, a weird thing to convey to Peter who chose to save the life of the Vulture (Michael Keaton), someone who tried to murder him repeatedly and also knew his true identity). So Peter resolves to “cure” the six supervillains and then send them home so they won’t die.


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From a plot standpoint, this is where No Way Home finally finds a bit of a rhythm and I can’t deny that it’s enjoyable watching these villains banter with each other. It’s genuinely thrilling to watch Willem Dafoe reprise his role as Green Goblin, a character he hasn’t played since 2004 (if you count his cameo in Spider-Man 2) and give it everything he has. No one here feels like they’re collecting a paycheck, and the film is a blast when it’s just putting all the characters together in a room and having them interact with each other. However, the notion that Peter feels compelled to “save” them doesn’t feel rooted in anything because, again, the MCU Peter Parker isn’t rooted in anything. He loves the people in his life, but nothing that’s happened so far says that Peter feels like he must save supervillains, especially when he didn’t seem too broken up about Mysterio’s death. It’s not so much that I believe Peter would be indifferent as much as it’s a dramatic inconsistency in the way he’s written across this series.


You can also tell the film doesn’t know what to do with Doctor Strange as it seems far more at ease when he’s not in the movie. There’s not much chemistry between Cumberbatch and Holland, and Strange seems present simply to facilitate the machinations of the plot rather than reveal anything about his relationship to Peter or how Peter feels about him. Sure, this isn’t Strange’s movie, but he’s pretty much a non-factor. He’s either casting spells or he’s a in a big set piece where he fights Peter in the mirror universe, which as far as action scenes go is probably the highlight of the film.

“How can you say that?” you may ask. “How can you say that’s better than the finale when Tobey Maguire and Andrew Garfield show up!” We’ll get to those guys in a minute, but it’s kind of easy to say that because it’s the only action scene that seems fairly inventive and pleasant to look at. I was kind of on the fence about director Jon Watts, but No Way Home solidifies for me that he is a deeply uninteresting filmmaker. I know that Marvel has their house style, but there’s no rule that says their movies have to look like brown-grey dishwater. His shot compositions are baffling, and the pacing seems designed more to get to the next one-liner than land any emotional beat. Everything about his approach to No Way Home screams, “This will do.”


The kicker is he can kind of get away with it because he has Maguire and Garfield in his back pocket. People will lose their minds when they come on screen because, and regardless of what you thought of their respective movies, they liked the actors as Peter Parker and Spider-Man. No Way Home almost feels like a reward for everyone who sat through a bunch of Spider-Man movies and that reward is you now get to see Holland, Garfield, and Maguire share the screen together and bounce off each other. I can’t deny that it’s fun. They’re likable in these roles, but there’s no “and then” to their presence in No Way Home beyond imparting the “With great power comes great responsibility” message and that they too have grappled with rage and grief. That’s not a bad page to take out of the Spider-Man: Into the Spider-Verse book, but it makes more sense for Spider-Man’s first movie, not his sixth (or third if you only count the movies where Holland is the star).

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I’m sure this review reads curmudgeonly. After all, I’ve admitted that the film is fun. It gives the people what they want, and I’m sure there will be much cheering when these characters from previous Spider-Man movies step on screen in No Way Home. But is this all movies are supposed to be? Is it nothing more than recognizing the thing? Great movies are about great storytelling, and No Way Home isn’t telling a great story as much as just throwing together a bunch of actors you recognize playing roles you’ve seen them in before. The excellence of Into the Spider-Verse shows that this “multiple Spider-Men” approach can still yield a great movie, but Spider-Verse has a point about why Spider-Man is a unique hero who means something to so many people. The only point of No Way Home is to make the audience nod and smile at the things they recognize before the film ends with all the characters forgetting that Peter Parker is Spider-Man.


Why does the film end this way? Is it a matter of Peter having to be careful about what he wishes for and that’s the lesson he had to learn in this movie? No, it’s a business consideration because Sony and Marvel and Tom Holland haven’t cemented what the future looks like for the character. That’s not a satisfying resolution because No Way Homenever really set out to tell a satisfying Spider-Man story. It has quantity in place of quality, but you can sometimes get away with quantity. It is the most Spider-Man movie, and sometimes people confuse that with “best.” But really Spider-Man: No Way Home is just resoundingly “fine.”

Rating: C

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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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