Spider -Man: No Way Home - Best Marvel or Ultimate Fan Service?Under a good canvas the average canvas the worst of the weaver<

The rise in final emotion

This is obviously the most successful part of the feature film because it is the only one that is really interested in the emotional issues of the characters and in particular of Spider-Man.After a lot of 2 hours of muddy jokes, failed spells, meetings with bad guys and doubles from other universes and action scenes without great ideas...Spider-Man: No Way Home decides to come back to the essentials: his trio of adolescents.

Thus, after having beaten and saved the bad guys from other universes, Doctor Strange sees the multiverse reopen again, his failed fate having been reactivated because of the green buffoon.Seeing that there is no other solution to avoid the destruction of the world, Peter Parker asks the sorcerer to erase the memory of the whole world, so that no one knows who he is, not even MJ, Ned or even DoctorStrange.

The beating heart of the trilogy

What give way to moving farewells with the other Spider-Man (yes, they are there, we talk about it below)), his friend Ned so and especially his first love: MJ.Tom Holland is more than convincing when he abandons the rage that animated him a few minutes earlier to accept the loneliness that awaits him at the end of the path.

The result is a beautiful moving and intimate conclusion.Especially when, in a final momentum, Peter seems to give up explaining everything to the GM without memories, probably for fear of injuring her again in the future (his front being always marked with the stigma of the final erased battle of hismemory)).Then remains the simple emotion, that nostalgic for Peter Parker, and that promising a new future for the character and for spectators.

A duo that we will not see again?

Zendaya Home

The choice of Zendaya to interpret a revisited echo of Mary-Jane, a different MJ, turns out to be paid again.A successful also to put the actress to the credit of the actress.Indeed, the artist is served by a writing of a confusing banality, which leaves terribly space to his character, who is confined to the dialogues of other protagonists evoking him, in the valves attributed to him and in atheoretically interesting final, but tragically shipped.

And yet, the charisma and experience of Zendaya allow him to infuse the rare moments of humanity of the whole.The experience acquired on the Pulse Euphoria is undoubtedly not unrelated, as it succeeds, here and there, to graft authentic atoms of sensitivity to her character.That she refrains a grumpy Strange, lets understand to Peter that she expects very little from the future, or tries to reassure the being she loves, swept by mourning, the actress is always impeccable accurate.

And the camera is not mistaken.When Peter must make her heartbreaking farewell, it is not the constipated face of Tom Holland on which she lingers, but the heartbreak contained of Zendaya, this mixture finally suffered from gravity and momentum.An essential alchemy, both salutary, secondary on paper, and yet essential for the success of the company.The rare scenes to find this balance between electricity lightness and a flayed humanity owes it a lot.

An unstable balance...

Andrew Garfield

Spider-Man: No Way Home therefore recalled Andrew Garfield so that he is passing on his costume of The Amazing Spider-Man alongside the other two Peter Parker, thus confirming rumors and leaks that have been swarming for several months.

And as soon as he appears in front of Ned and MJ, his childish passion for Spider-Man is immediately transmitted and the actor shows that he has kept all the energy and the passion of his character, who is a better spider-manIn 30 minutes of screen time only in the two films made by Marc Webb.Like the Peter Parker of Tobey Maguire, the hero unfortunately has no other use than to arouse the excitement of fans and refer to the films in which he appeared, in particular to the death of Gwen Stacy, of which he does notis still not recovered.

And yet, despite the poverty of his character, Andrew Garfield still manages to bring emotion to his Peter Parker and transmit his grief when he evokes his lost love and his guilt tears in his eyes by trying to comfort the peter parker ofTom Holland.Barely a few months after the brilliant Tick, Tick...Boom!, In which he is as sparkling as it is overwhelming, the actor is just as involved and touching.

Andrew Garfield in The Amazing Spider-Man (because there is no photo of him in the film))

As the trailer had already shown, the film replayed the scene of the death of Gwen Stacy when MJ falls from the scaffolding and that it begins a fall similar to that of the character embodied by Emma Stone.As in The Amazing Spider-Man: the fate of a hero, the Peter Parker of Andrew Garfield throws himself to catch her (after that of Tom Holland was stopped by the green buffoon)), but this time, heCatch in his arms and throws her canvas to land gently, without injuring her.An opportunity for Peter to forgive himself, but also for Andrew Garfield to turn the page.

The actor never spoiled his disappointment when he became aware of Sony's mercantile company around the two films made by Marc Webb and that he was forced to abandon the character after the abandonment of the franchise bythe studio.Spider-Man: No Way Home allows him to properly make his farewell to fans and Spider-Man, to whom he has been attached since his childhood.

Move on, but without forgetting

Spider-Man 2.0?

At the end of the film, once everyone has resumed their place in their universe and everyone has forgotten that he is Spider-Man, Peter Parker finds himself alone.He abandons his costume and the luxurious loft of Happy to settle in his famous little shabby studio, then made a new red and blue outfit, simpler, more radiant, and leaves to flutter in the streets of New York in the snow.

Between the death of Tony Stark, that of Aunt May and the fact that MJ, Ned and Happy have forgotten who he is, the hero has lost everything and no longer has any landmark.Peter Parker will therefore have to rebuild and Spider-Man: No Way Home marks the end of a trilogy, but perhaps the start of a new era for Spider-Man.

New look for a new life

Like Tom Holland, the Peter Parker of the MCU is no longer a nice teenager who discovers his powers and ecstatic when seeing Captain America and the other Avengers.With the events of Avengers: Endgame, Spider-Man: Far from Home and Spider-Man: No Way Home, the hero has grown, matured, he has become a young man, who will enter university and determine his future.The fact that he deviates from Tony Stark and he takes a new costume perhaps symbolizes a rebirth for Spider-Man and a transition while waiting for the rest.

Amy Pascal, producer of Sony in charge of Spider-Man films, announced just before the film's release that Tom Holland's Peter Parker would remain in the MCU and that a new trilogy was already in preparation.The fourth part of the adventures of Spider-Man in the Marvel universe would already be in development according to certain rumors and the first generic post scene revealing a piece of venom remaining in the world of the MCU suggests that Spider-Man couldface his eternal rival in the next film.

The small spider has become a great hero

The promise of a unleashed Doctor Strange

As the trailer had already revealed, after the world discovered that he is Spider-Man, Peter Parker will ask for help from Dr. Strange.He asks her to throw a spell so that the situation becomes again as before, except that things degenerate fairly quickly.

When the super-villains of other realities arrive in the world of MCU, Dr. Strange asks Peter to capture them and send them back where they come from, but the young hero rebel because he wants to save them.Then engages a fight between the sorcerer and the weaver for the object allowing to bring the bad guys home.

"Peter, you curl it or I send you with Dormammu"

The images of the confrontation in the mirror dimension, similar to the kaleidoscopic effects of Doctor Strange, are still as impressive and undoubtedly deliver one of the best action scenes in the film.The confrontation between Dr Strange and Spider-Man, however, has little impact since the sorcerer disappears from the story and only returns during the final battle simply to relaunch a spell and close the doors of the multiverse.On the other hand, the second post-generic scene, which is in fact the first trailer of Doctor Strange in the Multravess of Madness, is much more exciting.

Between the return of Wanda Maximoff in red witch (and potentially as an enemy)), the appearance of a sprawling creature of the multiverse who attacks the sorcerer and America Chavez in the street, the fight announced between Dr Strange and his evil double (perhapsbe from the What If series...?)) And the realization visibly more neat than usual (or at least in terms of photography)), these first images still promise lots of good things for the film directed by Sam Raimi and the next step in phase 4 of MCU.

Hum...I have already seen that

No valves home

Humor as deployed by the MCU has always been a source of debate.Sometimes used at its best, when authors such as Whedon or Waititi use it to energize the narration and dig the characterization of the characters, often brandished as a means of involving an unwilling audience, or in the manner of a screen allowing aNEVER INVESTED IN SUPPLY IN SUMMARY SUMMARY, EVER BE to dodge the dramatic scope of its twists and turns.

The reboot of Spider-Man had known how to include his jokes in a coherent register, that of the teen-movie.Multiplying winks in John Hughes' cinema, the two previous parts had managed to make humor a humanity and identification spring.But here, despite the sometimes well -placed projections, a pair of properly felt replicas, we feel here and there big concerns of coherence, or quite simply, humor diets which sometimes cohabite very badly.

Octolol is in the place

Difficult to be satisfied with these valves that are wiping in the curtains of the previous films, as if each tribute, each wink, had to dinner with a sneer.Sackiring pop-culture is a frequently deadly approach, but ridicule the memory of an Octopus, or the course of the previous Spidey for the grace of a valve frequently contravenes the investment of the spectator.

Electro constitutes a perfect example.Jamie Foxx has all the charisma and the bagout necessary for the machine gunness of Vannes that the scenario dictates to him.But how can we take an interest or fear an adversary at this point far from his DNA, who seems to exist only to debit perishable punchlines, without consequences or true influence on the course of history?

Electro

Action and Jon Watts

This is probably the biggest progress compared to the previous opus of the McU version-version.Except for a frankly successful illusion sequence in Spider-Man: Far from Home, Jon Watts's staging had always been damn poor.It must also be said that the gentleman was not helped by the specifications of Marvel, with his over -festered montages and his completely doubtful artistic choices (fight in a sandbox in Homecoming, funfair wheel in Far From Home...)).

So let's be clear, the action of No Way Home is not particularly innovative.Overall, it still falls into the crossing of Marvel productions since the three major action scenes between Spider-Man and the bad guys take place...in the dark.Suffice to say that it is not much more readable or exciting than usual even if the cutting is less chopped.

The scene where the green buffoon kills Aunt May in an insipidy building hall, the fight in the woods between Spidey and Electro looks like any fight of any blockbuster and the climax may be animated by the presence of othersSpider-Man, it takes place on scaffolding far from the population, and therefore without real human issues (apart from MJ and Ned, by a sleight of hand)).

Not only do we see anything, but it is it ugly

However, we must still highlight an improvement in the staging...daylight.Like what, when you get out of badly lit nights, you can achieve beautiful things.This is particularly the case in quasi-opening of the footage, when Spider-Man returns with MJ at Aunt May and the camera successively follows the characters to understand what is happening.In a harmonious sequence plan, a priori without digital fittings, the spectator interferes in the chaos of Peter Parker, discovering the reactions of his relatives, where the whole world having learned his identity cannot sneak.

Then better yet, there is obviously and especially the duel with Doctor Strange in the mirror dimension.Admittedly, this recalls the action scenes of the film Doctor Strange in itself, but the sequence is rather refreshing in the middle of the gray and dark sets of No Way Home so far.By playing with the reflections, the perspectives and the depths of field, Jon Watts has fun losing the spectator in a stimulating visual delirium.In short, there is better...Even if we will avoid talking about the highway scene, more bland you die.

The bordeelic bad guys

Willem Dafoe's Green Bouffon, Doctor Octopus by Alfred Molina, Thomas Haden Church, Rhys IFANS Lizard and Jamie Foxx electro.All make their return to Spider-Man: No Way Home after Peter disturbed Dr. Strange while he launched his fate, as the trailer showed, and none of them succeeds in existing other thanby the nostalgia that he generates (and again)).

Their personality, their role and their motivations are never clearly defined and some go squarely from the bad beta to the criminal thirsty of blood in just a few scenes.Only the Green Bouffon is distinguished from general mediocrity, the script exploiting at least the schizophrenic character of the character and his ancestral rivalry with Peter Parker since the first film directed by Sam Raimi.

Ha ha ha (to read with a diabolical accent))

D'autant que, hormis Electro, qui a laissé son bleu turquoise pour un look bien plus agréable à l'oeil (et plus fidèle au design des comics)), leur nouvelle apparence est pire que celle qu'ils avaient dans les films où sont apparus pour la première fois.

The man-sable is a dried crust who is disintegrated to change in tornado when he has to do something;The green buffoon takes up the original color of the character, but loses all its aura;Doctor Octopus is ridiculed with his pretty tentacles;Electro plays the cool and unstable guy and the lizard is only a green form hidden in the shade, perfectly useless until the end.

I'm not looking for Peter Parker, I'm looking for my soul

And the worst part is that most of the actors are turned off or are content to debit their replicas almost in time and as it is necessary.Apart from Willem Dafoe, who avoids ridiculous thanks to his incredible talent and his expressiveness still as remarkable, Alfred Molina and Jamie Foxx are never invested and Thomas Haden Church and Rhys Ifans only act for an unfortunate scene before disappearingIn the depths of forgetting.

Hello, it's us

The scenario

The MCU has rarely shone by its writing qualities, dramatic construction or emotional architecture, often being subservient to the soap opera of the whole or to commercial items disconnected from any artistic dimension.In No Way Home, the problem is triple: the film must make an incredible shopping list (cameos, character return, fan service, tributes, etc..)), pretend to assemble them in a coherent way and finally sprinkle them with an emotional ganache to claim to properly adapt a hero to the antipodes of his characterization or his original motivations.

The result is a scriptwriting molasses which often has absolutely no sense.The plot unrolls for long minutes a semblance of investigation threatening Peter and his relatives... dans le seul but de permettre une apparition de Matt Murdoch (Charlie Cox)), qui jettera cette sous-intrigue aux toilettes.And he will go to almost every narrative arc.Each narrative movement is the occasion for a diversion set without addict, and systematically, without ever that the feature film is worried about setting up issues.

A black suit that is useless

Passons sur l'inanité hygiéniste de cet univers où l'enjeu majeur de nos héros demeure de "soigner" les méchants et de s'assurer une place de choix dans un établissement scolaire de luxe (comme des macronistes ?)), pour se désoler de la pauvreté des enjeux déployés devant nous.This is evidenced by this phase of pure narrative rout where a hairy problematic properly - how to overcome without killing them an overpowered super -vilan skewer - is set to the time of a unworthy sequence of Hélène and the boys where all our heroes makeVannes picking up test pieces, facing a fixed and dreary camera as the dialogues they debute.

The only human and emotional issue of the plot, however major for Peter, is the one who condemns him to abandon all those he loves and all that he will have experienced.Sadly, it is placed for us a few minutes from the conclusion, like a bone to be gnawing, abandoned to a filthy cabot.Scriptwriting incompetence or contempt of public, everyone can choose their interpretation as to this mythological defeat.

And besides, let's be serious for a minute, Doctor Strange is clear: all the people who know the identity of Peter Parker in the other universes have been attracted by his failed fate.But then what about Gwen Stacy version The Amazing Spider-Man, Mary Jane, Harry Osborn and other Eddie Brock?Fortunately, it was the interesting bad guys and the two Spider-Man who rushed into the fault, if not, we would have even more bored...whatever.

A film prisoner of its specifications?

It lasts 7 years

Definitely, with almost a cumulative year of break because of the pandemic, Hollywood seems to have decided to make up for lost time with films with disproportionate lengths. Ainsi, ces trois derniers mois, les spectateurs ont pu se jeter sur Shang-Chi et ses 2h12 (en vrai, ça va)), Dune (2h36)), Mourir peut attendre (2h43)), Le Dernier Duel (2h33)), Les Eternels (2h37)), House of Gucci (2h37)), West Side Story (2h37 aussi, tout le monde s'est donné le mot)) et donc Spider-Man : No Way Home (2h28)).

Parmi les gros blockbusters de ce quatrième trimestre, seul Venom : Let There Be Carnage nous a gratifiés d'un petit 1h38 (et en même temps heureusement vu le bousin)) ou même S.O.S.Ghosts: inheritance with its 2h04.The comparison between the latter and No Way Home is moreover almost welcome as the two feature films play on the nostalgic rope of their respective franchise.And if, to everyone's surprise, the return of the Ghosbusters rather convinced, it may also be thanks to this wiser duration.

This DOCCAV ultimately completely accessory

En un peu plus de 2h (générique compris)), le film de Jason Reitman parvenait alors à mieux faire des souvenirs d'antan, un enjeu émotionnel grâce à un récit plus resserré (et moins ambitieux aussi, certes)).On the contrary, Spider-Man: No Way Home never really manages to combine all the elements he mixes.

Thus, the magnitude of the multiverse is never studied, the nostalgic spring of the old figures never exceeds the stadium of the fan-service and the emotional thread behind the peter parker of Tom Holland is crushed by the weight of the specifications.So when it lasts in addition 2h28, we have the feeling of seeing several films in one, where nothing is sufficiently developed to really reach its goal.A big mess where a more limited work and with fewer elements could have offered one of the great moments in the history of the araign man.

"Ah mess, but it's EL paper, they never love anything it's well known"

Teubé Maguire

It was the object of all dreams, of all expectations: the first Spider-Man to have wrapped the box office, the Peter of Tobey Maguire, would he be present, as leased and rumors allowed him?The answer is yes.But what a cruel disappointment!The character in himself, first of all, is sorely lacking in flesh, does not benefit from any precise narrative arc, has no concrete existence to claim within the narration.There is only to check a fan service box, leaving the actor to interpret the full responsibility to convince us.

Maguire's career was until recently almost stopped, and for good reason, it is a spectrum that invites itself into the blockbuster.Absent to himself, inexpressive as possible, giving the feeling of having been filmed away from the rest of the casting on a green background, the unfortunate is well unable to transmit the slightest emotion.The dialogues will go so far as to assume this distressing nullity by prevailing it from Vannes, one of these avatars laughingly laughing at its leaflet of high school chaplain.

The most nostalgic can be satisfied to see him replace his old costume, thanks to a digital climax poverty in iconic or collective plans, but the observation is bitter.This spidey has nothing to say, to do, or to live, and exists only to excite social networks.Worse, he is entitled to appear fully on the screen only for the time of two mechanical dialogues, exclusively thought of around the fan service, one stressing the organic dimension of his players, the second rehabilitating a colleague Amazing colleague.Or how the most anticipated blockbuster of the year is 20 years behind its audience.

"Hello, it's subtlety"

The death of Aunt May

On paper as on screen, the life of Peter Parker has always been marked by the tragedy.From the death of his parents to that of Uncle Ben, Mary-Jane or his multiple existential crises, her superheroic adventures have always been deeply linked to so many intimate tragedies.The latter will have been remarkably absent from the two previous feature films of the Disney-Sony reboot, where our hero could settle most of his conflicts with texts and jokes.

We were therefore delighted to finally see Peter rubbing terrible events, likely to test him, to experience him, in the most literal sense of the term.And with the death of Aunt May appearing in half of the film, let's say that there was a matter to confront the character both with his demons and the dangers he makes his loved ones.Unfortunately, this event is treated as a good way.First of all because Jon Watts has never treated May other than as a Libidinous Running Gag.

Escape the MCU, an allegory

After having passed this trilogy to deflect the blood influx of Tony Stark or Happy, the maternal figure embodied by Marisa Tomei does not have enough time of presence to act as an emotional relay, a fortiori when it disappears at the end of'A confrontation with the terribly telephoned green buffoon.This is followed by a "deadly", sadly lymphatic scene, where all these little people whining in a fixed plan, as if to catch up with emotionally lost time.

The result is nonexistent, and it is not the face contrite of Parker, the ball received in its shoulder or no other handle effect which will make it possible to give by magic to May a symbolic importance within this story.

Released, delivered?

Cameos

Well, we're going to do very quickly in this ultimate part because it is probably the highlight of Marvel's show, proving how the Hollywood giant has decided to devour competition, has prepared its future on decades andthat the superheroes of the saga are not about to leave the screens (whatever the size)).

Obviously, there is something fun to find the former bad guys of the old versions, in particular the green buffoon of Willem Dafoe.Obviously, there is something exciting to discover the Spider-Man versions of Tobey Maguire, Andrew Garfield and Tom Holland team to face their enemies (or give them their freedom)).But alongside that, Spider-Man: No Way Home especially looks like a huge game where Marvel places his pawns for the future more than for the coherence of the present.

Thus, the very promising return of J.K.Simmons in the shoes of J.Jonah Jameson was enticing given the cynicism and bagout of the journalist in the trilogy of Sam Raimi.Finally, his presence is more than futile and is only a wink as he does not find his character sliced and even a scathing replica.

J.Jonah Jameson without anything of the real j.Jonah Jameson (apart from the face))

But the worst is mainly hidden in the presence of Daredevil, Aka Matt Murdock, embodied by Charlie Cox (that is the version of the Netflix series)).His role is insignificant, leaving as quickly as he arrived and swept away the trial of Peter Parker (which disappears from the intrigue of a snap)).Undoubtedly, showing Daredevil in No Way Home, Marvel just places an additional pawn for his vast intergalactic plan of domination of the universe, or even multiverse.

It is all the more obvious that at the same time, in the fifth episode of Hawkeye, a certain Wilson Fisk is introduced.Suffice to say that Marvel seems convinced that organizing his future is more important than delivering coherent and singular films.The same goes for the arrival of Venom in the first post-generic scene, where Tom Hardy surpasses himself in the non-maid on less than two minutes, to probably never come back in person.In short, immense feedback for a tiny interest.What a disillusionment.