An Alternate Reality: The Man Without Fear Visits MCU's Spider-verse

The latest buzz on the in-production, live-action Spider-verse, i.e. Tom Holland/John Watt's Spider-man 3, is that Charlie Cox joined the cast as Daredevil (from the eponymous, cancelled Netflix series) and in pretty much the same breath, he's finished filming.  

One must presume then that his participation has been relegated to a cameo (maybe merely in Matt Murdock guise), and perhaps that's the case with most other heavyweights involved: Toby Mcguire, Andrew Garfield, Alfred Molina and Jamie Foxx. (Say, has anyone thought of pulling Nicholas Hammond into the brew? Come, now! He's much too historic to overlook.)

In any event, I was hoping for maybe something more substantial than cameos with Spider-verse's guest stars, but hey, I suppose whatever's concocted for the next, Tom Holland effort, it'll still add some real, web-swinging razzmatazz to the prosperous franchise. 

Also, this progressing multiverse trend won't just cover Spider-man, but Doctor Strange and for DC, a whole other mixing-and-matching of legends in the upcoming Flashpoint adaptation, to include Batman in the guise of Ben Affleck and Michael Keaton. The overlapping of realities is surely the next big thing. (While we're stirring the pot, why not have Affleck's Batman meet Affleck's Daredevil? Okay, just kiddin'...I think.) 

That headlining names are being dropped only guarantees interest, inspiring fans to flock to the colliding productions, if not in theaters (since so many are now restricted or closed due to dictatorial, pandemic constraints), but on subscription channels, as with Wonder Woman 1984 and the upcoming Godzilla vs Kong. 

I also like the idea that, at least on Marvel's front, Netflick's incarnations aren't being tossed to the wayside, as Cox's Man Without Fear suggests. As such, word has it that Luke Cage/Power Man will soon enter the Marvel Cinematic Universe line-up, though will it be in the Netflix mode, or something spankin' new? Cage's persona will be more comic-based, or publicity now claims, so who knows what the result will be and who'll play him? (I daresay, it would seem foolish at this point to purge Mike Colter from the role, unless it's his choice to evade the character.) 

Again, enticers are the ticket here (no matter the casting or length of the iconic appearances), with the Cox/Daredevil announcement being only the latest. This makes the anticipation of Spider-verse/Spidey 3, or any of the upcoming, universe-blurring adaptations, a massive, driving force: without question, genius-fueled on all fired cylinders. 

An Alternate Reality: Will the Next Live-Action Spider-man Spin Several Universes?

Will the next, live-action "Spider-man" movie spin several, alternate realities to weave its tale? 

It appears that a counterpart of Jamie Fox's "Amazing Spider-man 2" Electro will appear in the third Tom Holland adventure, and J.K. Simmons' J. Jonah Jameson is, of course, a carved-in-stone given. 

Now, Vincent D'Onofrio has expressed interest in reprising his role as Wilson Fisk, aka Kingpin, from Netflix's "Daredevil" series. Whoa! Now, that would be a breakthrough and a half, maybe even an opening for an appearance by Charlie Cox's Man Without Fear in some down-the-line chapter. 

And let's not forget, Tom Hardy's "Venom 2" will feature Woody Harrelson's Carnage in a wide-range role, which means a Venom/Carnage/Spidey crossover can't be far off. Also, if Michael Keaton's Vulture appears in Jared Leto's Morbius adaptation, both hero and villain could co-headline in yet another sequel. But for even further, Marvel team-up excitement, there's that fan-salivating notion that Tobey Maguire and Andrew Garfield might join Holland for Part 3. Yeah, wild! (Say, stick Miles Morales into there, as well. The more the merrier when it come to amazing Webheads.)

With DC/WB promising a Keaton/Affleck Batman overlap for "Flashpoint" (not to mention all that CW alternate-reality, character clashing), there's no telling how complex the competition could get.  

As an alternate-reality/crossover advocate, I'm in absolute favor of these mix-and-match scenarios. If there's any way to lure folks back into theaters (and ticket sales to soar), the parallel-universe gimmick is the best-bet way to go. 

I saw Spidey: Far From Home...

Back when Tobey Maguire acted as our favorite web slinger, a pompous chap told me that the actor's initial chapter pissed him off, but was too full of hot air to articulate why. Later I deduced it was Peter Parker's diligence that spurred the bum's scorn, with cowardice being his "diagnosed" excuse (ha, ha) to stay idle: Spider-man is what he'd aspire to be if only he had the courage.

Steve Ditko gave Parker heaps of courage (along with great power and responsibility), which has prevailed through decades of Marvel comics and cartoons. It's embedded in Maguire's trilogy, Andrew Garfield's love-laden set, the way-out "Spider-verse", the recent Avengers pics and Tom Holland's piloted outings.

This commendable component hits a pleasing high in "Spider-Man: Far From Home": the first in the fourth phase of the Disney-distributed, Avengers series, directed by John Watts and scripted by Chris McKenna and Erik Sommers, the trio responsible for "Homecoming". 

This time the attentive Parker swings far from Manhattan on a European "vacation", accompanied by chaperones Mr. Harrington (Martin Starr) and Mr. Dell (J.B. Smooth), Michelle, aka MJ (Zendaya), Ned Leeds (Jacob Batalon), Betty Brant (Angourie Rice), Brad Davis (Remy Hii) and rude but industrious Flash Thompson (Tony Revolori). In Thompson's defense, I'll take a wiseass any day over a lazy one.

In addition to Parker and his school mates, we're given Aunt May (Marisa Tomei)'s new squeeze, Happy Hogan (Jon Favreau), Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), each within proper proximity in case anything goes wrong, and of course, it does. (BTW: When it comes to Fury and Hill, a post-credits segment might reveal a catch, and I'll let it be at that.)

These skilled protectors must deal with the consequences of a parallel-plane portal that unleashes colossal creatures (Elementals) upon the Earth...or so that's the claim. And yet it's not only the irrefutable bad that seemingly slips through the other side, but assisting "good".  (The quotation marks are there for a reason. Duh.)

Shoot, we're talkin' Mysterio here, aka Quentin Beck, played by Jake Gyllenhaal, an actor who might have played Spider-man in that second, Sam Raimi flick, if Maguire couldn't make it. Maybe in some alternate universe, Gyllenhal did, in fact, play the part: an idea that has led fans to ponder if Mysterio might be a parallel Parker and not the trickster of traditional lore.

So, is he another Parker? The next Iron Man? Well, I ain't gonna tell, but I'll say this much, Mysterio holds a potent place in "Far From Home". Maybe it's Gyllenhaal's clever nuances, that gladiator armor and emerald, Robot Monster dome, or maybe it's just his basic air of mystery that does the trick. Know what? I'll opt for the latter. Mysterio's equivocation colors this fast-paced adventure, even if its chief hue stems from its intrepid acts, which pile on in sterling spades in honor of those gutsy enough to rub a little elbow grease onto any sticky situation. 

In fact, most of the characters demonstrate their commitment to doing right, no matter how daunting the sacrifice. Sometimes the gang gets frightened, frustrated...makes major mistakes (and good ol' Spidey is right at the top of the list), but they dust themselves off and never let others do what they can do themselves. These good folks possess integrity: a trait that cowards lack. 

All the same, among the daring diligence comes some scattered romance. Parker and MJ's love blooms in "Far From Home", but shucks, even that takes sincere courage on their parts. At least the labored affection never gets overbearing, as it does in Garfield's films. It instead sprinkles the scenery with upright pause (and cause), which in turn amplifies the action whenever it resumes: further proof of a laudable, balls-attached chapter. 

Yeah, bums will take offense to "Far From Home", but Spider-man isn't a hero for those pissed-off sloths. Guess that's just how it rolls in the crybaby, do-nothing annals. For the rest of us, this flick is a metaphoric testament to the bravery we apply to every sweat-brow day: that special way we rise to the occasion even when we're afraid.  

Spidey's Headstrong Homecoming: A Second Look...

In July I reviewed “Spider-man: Homecoming” and said (more or less) that it would be swell to see Tom Holland grow into the role: in essence, that an adult Spidey would be a welcome and logical evolution. I still stand by that statement, and yet I must confess, I’ve come to find Holland’s youthful portrayal significant in a time when (pardon the generalization) adolescents too often take the easy, cry-baby way out. 

My appreciation for the present Peter Parker rose higher when I overheard a trio of women at a supermarket check-out lane discussing recent movies and how, in particular, they wouldn't allow their teens to watch the latest Spider-man movie. This, per their collective perspective, was because the film presents Parker as "too headstrong" for his own good.

Mind you, these ladies also admitted that they hadn't yet seen the film, only (from what I could discern) trailers. How they came to dismiss the movie from such fleeting samples is beyond me. I can only presume that similar world-of-mouth denouncements reinforced their skewed views.

For the record, Parker is traditionally diligent and therefore, arguably headstrong, whether in "Homecoming" or any number of previous undertakings: comic, animated or live-action.

In "Homecoming'"s instance, one could say that our hero has taken his industrious zeal to an even higher level. I'd agree wholeheartedly with that. The kid, after all, realizes his potential and puts it to outstanding use. Mind you, he could otherwise waste his time playing video games or sobbing over why his favorite football team lost the big game, but admirably chooses a more purposeful path. 

Parker's passion is to prove to Tony Stark that he's true-blue Avengers material, and with the opportunity at hand, he stays loyal to that cause, even if he has to dance around dear Aunt Mae’s watchful, maternal concerns. All the same, Parker recognizes injustice when it surfaces: understands why it's wrong to turn a blind eye to it. If he can help in any given situation, he'll do so, and when he granted the frivolous chance to impress the girl of his dreams, he abandons it, web-slinging forth to expose the Vulture’s insidious business operation. Now that’s my kind of hero. That’s my kind of kid.

Please pardon me if I sound like some cliched, old fogy (and yep, here comes my editorial within an editorial), but youngsters today are just too damn coddled. They’re told they’re flawless and wonderful, even when they've done nothing to deserve it. It’s predominately the parents’ fault for not exposing and discussing reality's snags with their offspring. Per parental guidance, an adolescent should come to distinguish good from bad, and from there make some positive impact on the world. A teen needn’t have radioactive blood or go up against corporate crooks to make his/her mark. It just takes a little diligence and well, a headstrong vantage to reach one's goals. As the Sinatra song goes, that's life...

I sure wish I had been more cognitive of Parker's intensified stance when I initially watched "Homecoming". I guess I’m just used to him not sitting on his duff and took his heroism for granted. Now that I know better, I take strong issue with those who'd question his character. I've come to realize that those women who jumped the gun in their criticism of Spidey are the J. Jonah Jamesons of the world. Their shared assessment is silly, insolent and above all, out of touch. There's a good chance that their children (and consequently, society) will suffer to some extent or another for that.

“Homecoming” is the type of modern fable youngsters should watch; and if you, a parent, haven’t yet seen it, I urge you to do so and throughout the experience, pay heed to what develops; then share the film with your kids...with the entire family...discuss what you've absorbed. I guarantee you'll be all the better for it.

"Spider-man: Homecoming" is currently available through pay-per-view; the disc release hits shelves Oct 17.

I saw Spidey Come Home...

After the mush-maddened and ticket-slipping "Amazing Spider-man 2", an overhaul seemed required for the webslinger’s cinematic image. Either the Marc Webb/Andrew Garfield format had to be revamped or Spidey needed to go into hiding a few years before a reboot (perhaps one even in the Sam Raimi vein) was summoned. The powers-that-be decided to move fast, however, with Sony, Marvel and Disney ironing out contractual concerns to make Tom Holland's Peter Park a spry, supporting part of "Captain America: Civil War". With Spidey’s significant but brief participation pleasing fans, he gained another headlining effort.

Jon "Cop Car" Watts was enlisted for this big revitalization, assigned to direct but also to develop the story, along with John Francis Daley; Christopher Ford; Jonathan Goldstein; Chris McKenna; and Erik Sommers. 

The result, "Spider-man: Homecoming", picks up where "Civil War" left off (well, at least after a couple flashbacks), its main carryover Avenger being Robert Downey Jr.’s Tony Stark, aka Iron Man. Stark again takes Parker under his wing, advancing the youngster's suit to an even greater level, but the entrepreneur also relegates the youth to Manhattan's confines. Despite the lad's amazing abilities, Stark doesn’t see Parker as full-fledged Avenger material...not yet, anyway. (For the record, per comic lore, Spidey is always glad to assist the Avengers, Fantastic Four, X-Men and the like, but never yearns to be a permanent part of any team.)  

At any rate, Parker's need to impress Stark becomes the film’s predominate theme: the story of a boy who so desperately wants to impress his mentor by helping others that he stumbles along the way and well, you know the rest. (BTW: The film's subtitle implies Parker's coming to terms with his strengths and weaknesses, his notions of right and wrong, paving a symbolic path that will lead him home, so to speak.)

The script also focuses on Michael Keaton's Adrian Toomes, aka, the Vulture: a former salvage contractor, who after being financially stomped, grows a craving for conquest and with some extra cash (via some refurbished, alien technology) makes his ambitions a reality. It's sure fun to see Keaton in this ironic, villainous turn, though he more than tested the dark waters in "RoboCop ’15". It's also cool how the Vulture reflects Keaton's "Birdman" persona, which in its own right parodies his Caped Crusader portrayal, while simultaneously representing the type of baddie Batman would love to batter. 

Alas, there's no Daily Bugle to lure Parker and therefore no J. Jonah Jameson to berate him (pity, since the ol' hothead was physically non-existent in Webb's version). Stark's loyal pal, Happy Hogan (Jon Favreau) is there, though, as well as the alluring Aunt May (Marisa Tomei). Chris Evans also cameos as Cap America, along with Gwyneth Paltrow as Pepper Potts. 

In addition, the film features some new faces and reinterpretations of old favorites, which include Parker's this-time unrequited love, Liz Allan (Laura Harrier)--and don't let that darn surname fool ya--who's offset by cynical Michelle "M.J." Jones (Zendaya). There's also wide-eye, golly-gee chum, Ned (Jacob Batalon), who may or may not be the Bugle's Ned Leeds; naive Coach Wilson (Hannibal Buress); encouraging Mr. Harrington (Martin Starr); and trusty rival Flash Thompson (Tony Revolori), revised with copious smugness. 

Interestingly enough, Jennifer Connelly portrays Karen, the offscreen "Suit Lady", who guides Spidey through his fabric guise. For what it's worth, Connelly already held an Avengers link before winning the role, being married to Paul Bettany, who plays the Vision and prior to such, having voiced J.A.R.V.I.S.  Nonetheless, it's too bad we weren't granted a sly "Hulk" tie-in through the actress, but I guess the past is the past when it comes to certain ill-fated, Marvel ventures, though recasting is clearly okay. (Say, wouldn't Eric Bana make a terrific Kraven the Hunter?)

On the new henchmen end, we're introduced to Logan Marshall-Green's Jackson Brice/Shocker and Bookem Woodbine's Herman Shultz/Shocker (yep, two Shockers for the price of one!); Donald Glover's Aaron Davis, aka the Prowler; and Michael Mando's Mac Gargan, aka the Scorpion. (Indeed, lots of history is being spread here, but wasn't that also characteristic of the previous flicks? Sometimes this layering-the-tracks can be clever, but other times too much, too soon. We can only keep our fingers crossed for Watt's restart.)

As seen in "Civil War", Holland (despite that brief, far-too-cocky run-in with Cap) is likable as high-schooler and superhero. However, this finely tuned double standard wouldn’t have quite the impact if not for Keaton’s embittered villainy. 

The Vulture (one of Spidey's oldest foes, though others beyond Toomes have seized the alias) becomes the film's most ubiquitous persona. Keaton's intensity heightens the conflict, injecting an unreasonable angst that makes the story's primary nemesis as intriguing as its titular hero. For the beleaguered Parker, Toomes becomes a devilish obsession, in which we can take delight sharing. Indeed, we don’t want the Vulture to reign supreme, but we can appreciate the madman's decisive drive, while despising his misguided motives.  

This tottering dynamic gives the film a winsome spurt: a big relief since there's lots riding on "Homecoming'"s success. In fact, I had stated last year that if "Homecoming" adhered to "The Legend of Tarzan" format, it could succeed. However, “Tarzan” had several drawbacks that went against its hero's grain. "Homecoming" at least stays truer to its source, again retelling a tale that doesn’t need to be retold, but due to its faithful delivery, rises above expectations to retake its core audience. That’s not to say "Homecoming" is flawless or presents the perfect place and time for its hero, but even so, it respects the dutiful traits that Stan Lee/Steve Ditko invested in their creation. 

All the same, there must come a point when Spider-man truly becomes a man. Tobey Maquire and Andrew Garfield lost the chance to mature in their roles. With Holland, we’ll have to wait a decent spell for sure, due to the actor's overwhelmingly youthful guise. Will there be enough sequels for the new Spidey to reach logical adulthood? One can only hope...presume. Keep in mind, Kal-El didn’t remain Superboy his entire life. The same goes for Spidey, and this should be addressed on the big screen, just as it was on the short-lived (and inexplicably shamed) CBS television series.

If those now attached to the saga wish to do right by this character (i.e., get him ever closer to his symbolic home base), they must set forth a progressive path and maybe along the line implant some seriousness to the cause. More sophistication would allow the movies to improve, thus making the ongoing adventure more than a coming-of-age rehash and finally a franchise where the only costumed entity our hero needs to impress is himself. 

I saw Moby Dick in the Heart of the Sea...

Herman Melville’s “Moby Dick” has been filmed numerous times. Though the most famous adaptations are the 1956 John Huston/Ray Bradbury production with Gregory Peck and the 1998 mini-series with Patrick Stewart, there’s also a 2013 mini-series starring William Hurt, and a 2010 modernization with Barry Bostwick. And let's not forget those early John Barrymore trendsetters, “The Sea Beast” and “Moby Dick ‘30”; let alone that "Star Trek: First Contact" borrowed heavily from Melville's allegorical concept, as did the medieval epic, "Age of Dragons". 

Though many perceive “Moby Dick” as a revenge-ridden tale (and, thus far, the vengeance element has surfaced in all adaptations), it also appeals to monster fans. Though it may seem extreme these days (i.e., politically incorrect) to call a whale a monster, Moby Dick, like Kong or Joe Young, is a most extraordinary specimen: beyond mammoth and startlingly white, equipped with cunning cognition. These traits have characterized all versions of the beast, and the latest (though indirect) tribute is no exception, making "In the Heart of the Sea" another chapter in what some consider a genuine "sea monster" franchise. However, the great-white-whale angle is only one disquieting part of the latest scheme.

The adventure (or perhaps more precisely, misadventure) comes via director extraordinaire, Ron Howard, based on the acclaimed historical novel by Nathaniel Philbrick. Philbrick’s account commences in 1820, aboard the doomed ship, Essex, where the crew endures not only a merciless whale attack, thus inspiring Melville to pen "Moby Dick", but fierce weather and the horrid consequences of starvation.

Portraying the ship's fledgling captain, George Pollard, is Benjamin "Abe Lincoln: Vampire Hunter" Walker; and his dynamic (if not disgruntled) first mate, Owen Chase is played by Chris “Thor” Hemsworth. Rounding out the Essex's primary crew is Tom “soon-to-be Spider-man” Holland, as young Thomas Nickerson (the cabin boy); Brendan "Mad-Eye" Gleeson as old Thomas Nickerson (who reluctantly reflects upon his youthful escapade); Cillian “Scarecrow” Murphy as Matthew Joy (Second Mate and childhood friend of Chase); and as the man who documents Nickerson's disconcerting account, Ben "Q" Whishaw as Melville.

The men commence their adventure from Nantucket, Massachusetts without seeming worry, but when a enormous, white-specked sperm whale rams their ship in the Pacific Ocean, they must disperse into separate whaling boats, as their mighty vessel sinks.

In addition to fearing another attack (for the whale does trail them), they must face the consequences of being lost at sea and running out of supplies. The whale, therefore, is a monstrous harbinger for what turns this true-life story into one of horror. Like the Donner Expedition or Andes Flight 571, cannibalism becomes the crew's source of survival. 

There is no polite way to depict the consequences of such, even though the gruesome procedure is at best implied. One could say that, in a allegoric sense, the whalers have been cursed for their oil-profiting pursuits, and it's Moby Dick's precursor that has placed this curse upon them. 

Though Captain Pollard figures significantly into events, Hemsworth's Chase is the story's hub and the crew's doleful cheerleader. Because of Hemsworth's prior roles, instinct tells us to trust him, but even his towering frame can't defeat the damning craze that ensues.

As Charles Leavitt's excellent script develops, the sheer hopelessness of Chase's actions become apparent, seeping through Gleeson, Holland and Murphy's characterizations to a marked extent, each actor exuding convincing anguish and woe. Howard's pacing also enforces the crew's nihilistic descent, giving the film's second half a disquieting, slow-burn ambiance, similar to the director's "Apollo 13". 

Though the tale's cannibalistic component assures a morbid allure, it might also be dismissed as disappointing after the big attack, which is a destructive wonder to behold. The sequence, albeit brief, crackles with a relentless roll found only in the best giant-monster films: calculated to make one's heart pound and leave one depleted in its aftermath.

In fact, so powerful is the whale's presence that (for poetic license) it could have been more frequently reinstated, mounting the air of danger. As it stands, "Heart of the Sea" often leaves the crew's desperation to stand in lieu of the majestic monster.

The crew's dilemma, however, allows one to consider the grave obstacles sailors faced in days gone by. Though there's no doubt the story is embellished, just as "Moby Dick" is, one has no choice but to acknowledge that the basic story did, in fact, occur: something that should give one reason to pause and ruminate.  

Monsters and the horrors they spawn aren't solely relegated to the printed page or movie screen. Their roots often reside in reality, and reality can often be a most unnerving place, as the Essex crew--and now we, the audience--can assuredly attest.