I SAW SPIDER-MAN: BRAND NEW DAY

In my estimation, Spider-Man: No Way Home is one mighty hard act to follow, working as one of the best, cinematic, alternate-reality tales ever spun. The crossover of three Peter Parkers--Tom Holland, Andrew Garfield and Toby Maguire--is still beyond historic, and let's not forget the trio's majestic, against-the-odds mishmash of villains. Plus, the story wove a spellbinding premise, with Benedict Cumberbatch's Doctor Strange layering on some big-time, mind-numbing psychedelia. 

In this regard, Spider-Man: Brand New Day, directed by Destin Daniel (Shang-Chi and the Legend of the Ten Rings/Wonder Man) Cretton and scripted by Chris McKenna and Erik Sommers, could only hope to achieve second best in Holland's strand. That's okay. Brand New Day is still epic, featuring quality personas with whom Parker interacts and combats, depending on his daily circumstance.  

The Marvel-ous, supporting roster includes Michael Mando as Mac Gargan, the Scorpion; Marvin Jones III as Lonnie Lincoln, Tombstone; Zendaya as Michelle "MJ" Jones Watson; Jacob Batalon as Ned Leeds; Liza Colon-Zayas as detective Jean DeWolff; Marisa Tomei as the flashbacked Aunt May; Mark Rufalo as Bruce Banner, the Hulk; Jon Berthal as Frank Castle, the Punisher; Florence Pugh as Yelena Belova, the Black Widow; Eman Esfandi as Paul Rabin, MJ's new squeeze (boo!); Sadie Sink as Jean Grey (yes, it turns out to be true); Sara Booth-Ford as Sarah Grey; and Tramell Tillman as the mutant-hunting William Metzger. The criminal band, the Hand, also enters the fray, performed by nondescript yet agile actors, with Boomerang and the Tarantula bestowing cameos, rendered through effective CGI.

The mutant motif is most prevalent in Brand New Day, enough to make this Spidey entry a fledgling, X-Men relaunch, but that could have happened anywhere in the Marvel Cinematic Universe. Hell, what is Peter Parker anyway, not to mention Steve Rogers, Matt Murdock and Bruce Banner? Mutants! However, in Parker's case, his mutation is expanding, pushing him through a kind of puberty, which entails edgy self-reflection, guided by the Hulk and the Punisher's handlings of rage. (The Spidey/Punisher link mirrors the Daredevil/Punisher one in their Netflix/Disney scheme, though more humorous. It also channels a Son of Batman vibe.)

So, who's the overriding antagonist in this case? As more than implied, there are several to choose from, but only one holds the defining mark, and it's a hidden-in-plain-sight body snatcher (on the lam from Metzger) who's been teased by Sony's marketing ad nauseum. (Gosh, have I revealed too much?😉) 

Despite the wait-and-see novelty, the negativity swings back to Parker. Now, don't get the wrong impression. Parker is still the good guy, but again, he's wrestling with those damn demons. (This caused some to anticipate another Venom manifestation, ala Sam Raimi's third chapter, but that, I assure you, doesn't happen in Brand New Day.) 

What develops is comparable to a component in Superman III, which as some may recall, held the working title, Superman vs Superman. Get the picture? Parker's transformation is nowhere near as radical as Christopher Reeve's in that particular example, but all the same, Brand New Day's ambivalence remains palpable, giving the story a clear, character-study slant. 

Is this approach good or bad? You tell me. It all comes down to personal taste. I favored it since I found the novelty more interesting than just rehashing the standard, good-vs-evil tropes. Additionally, the movie (as I hoped and prayed) didn't insert any political grandstanding. It remained confined and intimate in it progression, so that anyone who's faced a lonesome trail (for whatever cause, prompt or quirk) should be able to identify with it.

Compared to the new Supergirl (and I'm sorry to leap on that denouncing bandwagon again), Brand New Day is smooth sailing, even if in the end, it may not rank as one's all-time favorite in Holland's winsome web. 

FOR THE FUN OF IT:

 

MR. LOBO PRESENTS CINEMA INSOMNIA'S 25TH ANNIVERSARY MARATHON, THIS SATURDAY

To honor Cinema Insomnia's 25th Anniversary (which takes place officially on Wed, 7/29), Mr. Lobo is presenting another magnificent, misunderstood movie marathon on Twitch, OSI74/Roku and Amazon Fire this Saturday night (7/25), commencing with a party preshow at 9 pm. The preshow will feature Sally the Zombie Cheerleader; Eric (Yella Fever) Sabo; devoted Insomniac, Edgar Sparingy; and filmmaker Tate (Pizza Guy 8) Hoffmaster, among other joyous guests.

Frankenstein vs the Creature from Blood Cove is the big headliner, followed by The Last Man on Earth, Plan 9 from Outer Space and Hardware Wars.

Indeed, that's quite a misunderstood cluster and one guaranteed to instill fun, fun, fun!

Be certain to leap in this Saturday night to experience every exultant ounce of this commemorative event! 

WISE WORDS:

FAREWELL, MIKE PRESTON

As Pappagallo, you struck an empathetic chord in Mad Max 2: The Road Warrior and took a villainous turn in the 3D epic, Metalstorm: The Destruction of Jared-Synn. 

In addition, you starred as Alex Shaw in the series, Hot Pursuit, with guest shots on Alien Nation, Highlander, Superboy, Airwolf, The A-Team, Baywatch Nights, The Scarecrow and Mrs. King, Hunter, Ellen, Fame, Perry Mason, Mickey Spillane's Mike Hammer, Renegade, Homicide, Jake and the Fat Man, The Celebrity Game, The Getaway (video game), the soap operas, Bellbird and Punishment (the latter two as a regular) and hosted In Melbourne Tonight.  

You were featured, as well, in DC's Steel, Blade in Hong Kong, The Long Journey Home, Exile, Maybe This Time, J.O.E. and the Colonel, Climb Up the Wall, The Caribbean Mystery, Barney (1976), Duet for Four, Harry's Hong Kong and The Last of the Knucklemen. To boot, you were a damn good singer and even charted several hits. 

Your craggy persona was unmistakable; your emotional range contagious. You were easy to like, Mr. Preston, and just as much a formidable foe. You were, therefore, all that any entertainer could aspire to be: a man of many aspects ... a performer extraordinaire. 

FOR THE FUN OF IT:

 

R.I.P. MITCH BYRD

You were a big-time, Green Lantern guy, in particular when it came to that irascible Guy Gardner, and though DC may have been your most associated hub, other publishers were quick to employ your skills, including Chaos!, Crossgem, Aircel, Malibu, Image, Dark Horse and Marvel. 

Your art (your fine penciling) was always intricate and ornate, as your renderings of Batman, Superman and their families demonstrate, and your sensational style even helped shape the shapely Lady Death and Shi, escalating heartbeats and libidos alike.

Many consider your contributions to Generation X, Starman, Dinosaurs for Hire and Strange Sports Stories as the pinnacles of your success. Others favor Predator, RoboCop and Starship Troopers, since they bestowed you universal, pop-cultural veneration. Still others exalt your breakout triumph, Cat and Mouse, which continues to tower over most indie titles. And then there are your cherished, sideline projects, with wholehearted salutes to The Rocky Horror Picture Show and The Giant Leeches. 

Your legacy is secure, Mr. Byrd, enough that it's become unbreakable. It'll outlast us all, in fact, guaranteeing enchantment for generations to come: the true sign of an indelible artist ... the defining mark of artistic genius.