In Spider-Man: Far From Home, the teenage wall crawler leaves Queens behind and heads to Europe on a class trip. In Homecoming, Tom Holland's first go as the friendly neighborhood Spider-Man, the emphasis was on the neighborhood. With it's corner bodegas and suburban enclaves that film was a pleasant reminder that there is more to New York City than midtown Manhattan. In one memorable scene a frustrated Spider-man has to run to save the day on foot, as there are no skyscrapers to swing from in Forest Park. Everything is on a larger scale this time around; both the scenery and the destruction. While the film often plays like a teenage romantic comedy from the 80s, the fact that our awkward lovestruck hero is secretly a web spinning Avenger is fair warning that this trip will be interrupted by large scale mayhem.
The destruction is courtesy of four "elementals", cosmic beings from a parallel universe. They have already destroyed earth in that dimension and have been let loose in ours by the reality bending "blip" that took place in the last two Avengers movies, Infinity War and Endgame. Pursuing them is Mysterio, an aptly named, mysterious caped crusader who is played by the always interesting Jake Gyllenhaal.
After joining forces with Mysterio to stop an elemental that is ravaging Venice, Peter is recruited by Superhero Coordinator and Master of Exposition Nick Fury, who explains the situation to Peter (and to us). Peter just wants to return to his class trip and leave the world saving to others, but superheros don't get summer vacations. Fury's persistence and his own conscience pull him in. Humor, guilt, adventure, romance: these have always been the four "elementals" of Spider-man.
Back in 1963 Marvel editor Stan Lee conceived of Spider-man as an anti-superhero, a fallible character that readers could relate to. Instead of a having a teenage sidekick, he was a teenager himself. Instead of nobly deciding to use his powers for good, he sought to profit from them; only when a selfish act on his part resulted in tragedy did he become a do-gooder. He had a sarcastic and somewhat cynical sense of humor. He was full of doubt, made frequent mistakes and got himself into frustrating (and often humorous) situations. His heroics complicated his life, with his frequent unexplained absences affecting jobs, school, and romantic relationships; he got sick, worried about money, and felt sorry for himself. He was less Clark Kent and more Charlie Brown.
Early on in Far From Home Peter is given a device which gives him virtually unlimited power; when he tries to use it for personal gain it all backfires on him, and a catastrophe is barely averted. Instead of giving him advantages his enhanced abilities continually cause him probelms. That has always been the lesson of Spider-man: "...with great power comes great responsibility", but unfortunately not much security or happiness. We all know this to be true at one level, but deep inside most of us still believe that if we just had enough power (or money, which is the same thing in our society) we would be ok. The sad fact is that there is never enough power or money. When we move up in income or social stature, we quickly adjust to it, and immediately feel the inadequacies of our new position. With each move upward comes a series of unexpected consequences. The author of Ecclesiastes, traditionally held to be the great king Solomon, writes:
So I became great and surpassed all who were before me in Jerusalem. Also my wisdom remained with me. And whatever my eyes desired I did not keep from them. I kept my heart from no pleasure, for my heart found pleasure in all my toil, and this was my reward for all my toil. Then I considered all that my hands had done and the toil I had expended in doing it, and behold, all was vanity and a striving after wind, and there was nothing to be gained under the sun.
Peter Parker has all the power that any bullied bookworm could dream of, but it doesn't bring him happiness. It also can't undo the mistakes that he's made or the people that he's lost. In the comic books Peter's selfishness cost him his Uncle Ben at the beginning of his career as Spider-man, and years later a simple error in judgement cost him the love of his life, Gwen Stacy. That moment and all it said about the irrevocability of consequences changed comic book history and gave the series a sense of loss that has characterized it ever since.
In this movie it's Tony Stark whose absence is felt keenly by Peter; he has lost yet another father figure. It gives the movie a touch of the melancholy that balanced the humor and action in the comic books. Yet the relationship between Peter and Tony that is unique to this series of movies is something I'm ambivalent about. The Peter Parker I remember from the comic books got by on his own effort and ingenuity; the Tom Holland version is constantly being given new suits and gizmos courtesy of Stark Industries, and help is almost always a text message away. I understand it in the overall scheme of the Marvel Cinematic Universe and the way it which it helped define Robert Downey Jr.s character. Still, I would rather Peter went it alone more. One of the things that has always been admirable about the character was his pluck and resourcefulness. It's a minor quibble. The only other real criticism I have about Spider-Man: Far From Home is that the movie does feature the sort of thing that was lampooned so well in Austin Powers: that curious mental block that keeps villians from taking the most obvious path to the success. Again, this is a minor criticism. Far From Home is a very enjoyable, well crafted movie that has more going on in it than may be visible at first glance.
One of the criticisms often made of fantasy films is that they provide a simplistic view of the world. Evil is seen as external: supervillains, orcs, and evil empires are the problem, a problem that is typically solved by superior superpower or firepower. It is a view of the world that can have serious consequences if it is mistaken for reality. In our desire for clearly identifiable "good guys" and "bad guys" we can be led astray, especially in an era of "fake news" and weaponized disinformation. Our tribal instincts want to know who is on our side and who it is that we must triumph over. When Jesus began his ministry the people of Jerusalem were looking for a savior; many hoped for a warrior, a conquering hero. Jesus wasn't that kind of savior. He offered another way. He taught that the real battle is within ourselves, that the endless war against "the other" is a distraction. The real threat does not come from without but from within:
It is what comes out of a person that defiles. For it is from within, from the human heart, that evil intentions come: fornication, theft, murder, adultery, avarice, wickedness, deceit, licentiousness, envy, slander, pride, folly. All these evil things come from within, and they defile a person.
One of the neat little twists in Far From Home is the degree to which the film is aware of all this. Without spilling the details of the plot, suffice to say that it ends up critiquing the weaknesses of its own genre. The film is conscious of the dangers of spectacle and entertainment, and while it can be enjoyed as a funny and engaging thrill ride there are some serious questions about responsibility and discernment hiding behind the smoke and mirrors.
P.S. Make sure you stay seated through the credits. The post credits scene is interesting, but the mid credits scene is a doozy.
The destruction is courtesy of four "elementals", cosmic beings from a parallel universe. They have already destroyed earth in that dimension and have been let loose in ours by the reality bending "blip" that took place in the last two Avengers movies, Infinity War and Endgame. Pursuing them is Mysterio, an aptly named, mysterious caped crusader who is played by the always interesting Jake Gyllenhaal.
After joining forces with Mysterio to stop an elemental that is ravaging Venice, Peter is recruited by Superhero Coordinator and Master of Exposition Nick Fury, who explains the situation to Peter (and to us). Peter just wants to return to his class trip and leave the world saving to others, but superheros don't get summer vacations. Fury's persistence and his own conscience pull him in. Humor, guilt, adventure, romance: these have always been the four "elementals" of Spider-man.
Back in 1963 Marvel editor Stan Lee conceived of Spider-man as an anti-superhero, a fallible character that readers could relate to. Instead of a having a teenage sidekick, he was a teenager himself. Instead of nobly deciding to use his powers for good, he sought to profit from them; only when a selfish act on his part resulted in tragedy did he become a do-gooder. He had a sarcastic and somewhat cynical sense of humor. He was full of doubt, made frequent mistakes and got himself into frustrating (and often humorous) situations. His heroics complicated his life, with his frequent unexplained absences affecting jobs, school, and romantic relationships; he got sick, worried about money, and felt sorry for himself. He was less Clark Kent and more Charlie Brown.
Early on in Far From Home Peter is given a device which gives him virtually unlimited power; when he tries to use it for personal gain it all backfires on him, and a catastrophe is barely averted. Instead of giving him advantages his enhanced abilities continually cause him probelms. That has always been the lesson of Spider-man: "...with great power comes great responsibility", but unfortunately not much security or happiness. We all know this to be true at one level, but deep inside most of us still believe that if we just had enough power (or money, which is the same thing in our society) we would be ok. The sad fact is that there is never enough power or money. When we move up in income or social stature, we quickly adjust to it, and immediately feel the inadequacies of our new position. With each move upward comes a series of unexpected consequences. The author of Ecclesiastes, traditionally held to be the great king Solomon, writes:
So I became great and surpassed all who were before me in Jerusalem. Also my wisdom remained with me. And whatever my eyes desired I did not keep from them. I kept my heart from no pleasure, for my heart found pleasure in all my toil, and this was my reward for all my toil. Then I considered all that my hands had done and the toil I had expended in doing it, and behold, all was vanity and a striving after wind, and there was nothing to be gained under the sun.
Peter Parker has all the power that any bullied bookworm could dream of, but it doesn't bring him happiness. It also can't undo the mistakes that he's made or the people that he's lost. In the comic books Peter's selfishness cost him his Uncle Ben at the beginning of his career as Spider-man, and years later a simple error in judgement cost him the love of his life, Gwen Stacy. That moment and all it said about the irrevocability of consequences changed comic book history and gave the series a sense of loss that has characterized it ever since.
In this movie it's Tony Stark whose absence is felt keenly by Peter; he has lost yet another father figure. It gives the movie a touch of the melancholy that balanced the humor and action in the comic books. Yet the relationship between Peter and Tony that is unique to this series of movies is something I'm ambivalent about. The Peter Parker I remember from the comic books got by on his own effort and ingenuity; the Tom Holland version is constantly being given new suits and gizmos courtesy of Stark Industries, and help is almost always a text message away. I understand it in the overall scheme of the Marvel Cinematic Universe and the way it which it helped define Robert Downey Jr.s character. Still, I would rather Peter went it alone more. One of the things that has always been admirable about the character was his pluck and resourcefulness. It's a minor quibble. The only other real criticism I have about Spider-Man: Far From Home is that the movie does feature the sort of thing that was lampooned so well in Austin Powers: that curious mental block that keeps villians from taking the most obvious path to the success. Again, this is a minor criticism. Far From Home is a very enjoyable, well crafted movie that has more going on in it than may be visible at first glance.
One of the criticisms often made of fantasy films is that they provide a simplistic view of the world. Evil is seen as external: supervillains, orcs, and evil empires are the problem, a problem that is typically solved by superior superpower or firepower. It is a view of the world that can have serious consequences if it is mistaken for reality. In our desire for clearly identifiable "good guys" and "bad guys" we can be led astray, especially in an era of "fake news" and weaponized disinformation. Our tribal instincts want to know who is on our side and who it is that we must triumph over. When Jesus began his ministry the people of Jerusalem were looking for a savior; many hoped for a warrior, a conquering hero. Jesus wasn't that kind of savior. He offered another way. He taught that the real battle is within ourselves, that the endless war against "the other" is a distraction. The real threat does not come from without but from within:
It is what comes out of a person that defiles. For it is from within, from the human heart, that evil intentions come: fornication, theft, murder, adultery, avarice, wickedness, deceit, licentiousness, envy, slander, pride, folly. All these evil things come from within, and they defile a person.
One of the neat little twists in Far From Home is the degree to which the film is aware of all this. Without spilling the details of the plot, suffice to say that it ends up critiquing the weaknesses of its own genre. The film is conscious of the dangers of spectacle and entertainment, and while it can be enjoyed as a funny and engaging thrill ride there are some serious questions about responsibility and discernment hiding behind the smoke and mirrors.
P.S. Make sure you stay seated through the credits. The post credits scene is interesting, but the mid credits scene is a doozy.
Movies You Might Have Missed
 | ChronicleSomething of a cross between a superhero movie and a Stephen King novel. Three teens happen onto an extraterrestrial object that gives them telekinetic powers; one of them is a bullied loner who is teetering on the edge of sanity. The superpowers must have stuck as this "found footage" movie stars Dane DeHaan who went on to play the Green Goblin in The Amazing Spider-Man 2 and Michael B. Jordan, who went on to play the Human Torch in The Fantastic Four and Killmonger in The Black Panther. |
 | Donnie DarkoJake Gyllenhaal had his first starring role in this psychological thriller about a disturbed teen. Donnie is visited by a demonic six foot rabbit figure (yes, it's like a twisted version of Harvey) that shows him apocalyptic visions. Set to a college rock 80s score, this moody fantasy is creepy, thought provoking, and at times quite funny. Avoid the director's cut and seek out the theatrical version; this is a case where less is more. |
 | John CarterJohn Carter of Mars was a pulp fiction hero rather than a comic book hero, a lesser known character from Edgar Rice Burroughs, creator of Tarzan. This film version got terrible reviews and bombed at the box office; I've never understood why. It's a perfectly enjoyable fantasy epic, no sillier than most, with some great visuals and an awesome Martian dog. |
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