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. 

An Alternate Reality: I saw No Way Home...

When I was a kid, I didn't understand why Darrin Stevens asked his wife, Samantha, not to twitch her nose and use witchcraft to solve their conundrums. As I got older (more experienced to the ways of the world), I came to understand Darrin's noble plea: Working to achieve an outcome (i.e. earning it) is much more fulfilling (not to mention bewitching--tee hee) than taking the easy way out, especially when it comes to character building.

This philosophy prevails throughout Peter Parker/Spider-man's lineage. Steve Ditko introduced it in the early '60s, and it continues to pigment Spidey lore, for on every amazing level, Spider-man: No Way Home epitomizes the dignified point.

Some claim that No Way Home is the final chapter in the Tom Holland "home" (work-hard-for-one's-goals) trilogy and that a series of Sinister Six flicks will follow, in addition to Holland stand-alones that might feature Venom, Carnage, the Vulture and Morbius. Who the hell knows? It's the story at hand that counts, and because of its diligent gist (which connects to such current Marvel/Disney Multiverse fare as WandaVision and Loki), it's an extraordinary one that should resonate with all fans who take pride in getting off their duffs. 

In this cinematic fable, director Jon Watts and writers Chris McKenna and Jon Sommers unroll an astounding, Twilight Zone-ish obstacle for Parker, thanks to J.K. Simmons' J. Jonah Jameson exposing Spidey's true identity through some startling Jake Gyllenhaal/Mysterio footage. In desperation, Parker enlists Benedict Cumberbatch's Stephen Strange to fix the situation through a swift spell which only makes matters worse, though this proves a melodramatic blessing, with old and new Spidey personas joining the aforementioned trio: Zendaya as M.J.; Marisa Tomei as Aunt May; Jacob Batalion as Ned Leeds; Tony Revolori as Flash Thompson; Jon Favreau as Happy Hogan; Benedict Wong as Wong; Jamie Foxx as Electro; Alfred Molina as Doc Ock; Willem Dafoe as the Green Goblin; Thomas Haden as the Sandman; and Rhys Ifans as the Lizard. (Now, what of Tobey Maguire and Andrew Garfield, you ask, as well as some of the other reputed icons who were to be in this one? Ah, shucks, do ya really want me to spoil what may or may not be? That would, after all, be taking the easy way out. Dig? All the same, I don't think one will come away too disappointed.)

Even with its anticipated, special appearances, this Multiverse mishmash doesn't cover every speck of every possibility, but it's still fulfilling for all of its clever intent, heaping great danger, exasperation and responsibility upon Holland's shoulders. That means our Avengers-based Spidey must squash a number of "Monkey's Paw" consequences to reverse the mad process (a motif that Wonder Woman 1984 also asserts), weaving his way in and out of the messes that follow, thus creating an edge-of-the-seat, lesson-based maelstrom, sprinkled with sweet, sensible sacrifice and whenever required, more than a little help from his industrious friends.  

The script's underbelly is, therefore, pure Ditko (and in the best possible Parker/Strange classic-rooted manner), allowing No Way Home to capture the artist/storyteller's moral compass with awe-inspiring precision. No doubt Ditko is looking down upon this one with great gratitude and no doubt the same can be said of good ol' Stan Lee.  

The bum-ish and spineless won't appreciate this chapter since it goes against their let-me-tap-you-with-my-wee-wand, Potter-fied grain, but for those who understand what makes Parker (as well as Marvel's Multiverse on the whole) swing, this one's a web-slinging godsend and could end up the biggest Spidey blockbuster yet. No Way Home deserves that much. I mean, shoot, it's earned it. 

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. 

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.