With the conclusion of the last film FAR FROM HOME (2019) literally jeopardising Peter Parker’s double life, SPIDER-MAN: NO WAY HOME (‘NWH’) creates the most turmoil for the long-suffering young superhero. NWH picks up where the last film left off, and with the whole world now privy to his secret identity Peter Parker has the unenviable task of balancing this revelation as well as its impacts on those nearest and dearest to him.
With the absence of the now deceased Tony Stark (Robert Downey Jnr) and the AWOL Nick Fury (Samuel L Jackson), Parker no longer has the oversight of the cool charismatic father figure in Stark or the stereotypically irate stepfather in Fury. However, the convenient inclusion of Dr Strange (Benedict Cumberbatch) fills this mentor position in doing his best to guide the well meaning yet inexperienced young superhero. Following a brief but memorable appearance by Matt Murdoch aka Daredevil (Charlie Cox) that offers some legal respite to Peter and his loyal contingent, the besieged high schooler seeks the mystical intervention of the aforementioned sorcerer to quite literally wipe the minds of the world to retain his prior anonymity.
Despite the protests from the newly promoted Sorcerer Supreme Wong (Benedict Wong), Dr Strange acquiesces and grants Parker’s request. However, being a neurotic teenager his ongoing stipulations to the sorcerer’s spell fractures its intended outcome leading to tears in the fabric and essentially unveiling ‘the Multiverse’. As was not so subtly hinted in the trailers, the result of these incursions are catastrophic to say the least as the young Spider-Man encounters Doctor Octopus (Alfred Molina), The Green Goblin (Willem Dafoe), Sandman (Thomas Haden Church), The Lizard (Rhys Ifans) and Electro (Jamie Foxx) – all from different dimensions, or separate franchise if one refers to these with some shameless audacity.
From a technical standpoint it is remarkable that each of these characters were given equal screen time, but even more so that each of these brilliant actors were included all in a single film. Evidently, the stand-out is the menacing Willem Dafoe as the psychotic Green Goblin, who relishes the role as he chews scenery but it’d be remiss to not mention the likes of the wonderful and sympathetic Alfred Molina’s Doctor Octopus or the cheeky Jamie Foxx as Electro. Peter Parker’s decision to challenge each of their grim fates, is akin to the opening of Pandora’s Box from Greek mythology with Dr Strange’s spell cube being a representation of that cursed artefact. To resolve these fractures, Peter enlists the help of his sassy girlfriend M.J (Zendaya) and his ever-reliable best friend Ned Leeds (Jacob Batalon) with both serving as additional strategic brains and tech support, respectively.
As with the existing Spiderman lore, a further non-combative antagonist comes in the form of the cranky J. Jonah Jameson (JK Simmons), who provides as much humour as he does vitriol. Happy Hogan (Jon Favreau) has even less screen time in this outing, but his presence as a quasi-ward to Peter is still a welcome inclusion.
At its core, NWH emphasises the two defining characteristics of the beloved superhero, his humanity and the inevitability of sacrifice. When greeted by a bevy of a new rogue’s gallery – which does somewhat set set up The Sinister Six, sans Kraven the Hunter – Peter’s intention is not simply to return them home but to offer them some form of redemption. Going above and beyond, it is ultimately this idealism that creates the most dire consequences for the young hero putting those he loves most at perilous risk.
Some of my fellow critics have been quick to highlight the excessive run time of 148 minutes, however Jon Watts masterfully establishes a tempo that ensures the pacing is palatable; with the higher stakes prevalent fused with some perfect casting, everything fits into place for the most part. Due to the chemistry amongst the key cast, there is an almost flawless balance between the drama and the action with just enough trademark Spider-Man quips to draw a grin from even the most cynical audience member. And as with the brilliance of the Russo Brother’s ‘AVENGERS: END GAME’ (2019), Watts has enabled the right amount of grandiose and pathos that evokes as much as emotion as it does accommodate the large character roster.
The icing on the cake was undoubtedly the appearances of Spider-Men from alternate universes, specifically Peter Parker (Tobey Macguire) from Sam Raimi’s films and again Peter Parker (Andrew Garfield) from Marc Webb’s set of films. The distinction between the two are denoted by simple numerics, which result in some hilariously awkward but engaging interactions between the three. The clear difference between each version is handled incredibly well, with Macguire’s Peter-Two being more dour and introspective, Garfield’s Peter-Three being more cocky and upbeat whilst the youngest version, or Peter-One in Holland serving as the adhesive web that literally and figuratively solidifies all three together. Certainly having all three of these Spidermen collaborate during the climax, is as much rewarding story telling as it is very clear fan-service, assuring that white knuckle edge of the seat excitement.
Whilst the special effects are indeed mind blowing, such visual splendor is to be expected when it comes to any Marvel Studios production – it’s quite simply the best of the best of technical wizardry. However, the real strength of the film is in its character relationships especially Peter’s bonds with his aunt, girlfriend and best friend. The focus on this dynamic, effectively eschews any exposition heavy junctures which can often diminish the emotive weight of these type of films. Instead, there is much poignancy to be derived from the ethical lessons imparted by the wise Aunt May (Marisa Tomei) to the genuine romance Peter has established with MJ and his strong friendship with Ned. The dialogue is very natural and organic, and nothing is forced or overly manufactured. In various parts of the film, it seemingly carries its emotive weight on its sleeve and can be somewhat saccharin in areas, but thankfully these are few and far between.
There are two key moments in the film which are particularly heart breaking, but serve as the requisite emotive one-two punch that will easily shake the most hardened cinema goer. Whether it be the tragic passing of a close family member or a difficult farewell, the film balances this with the right amount of care and consideration. These moments frame the essence of Peter Parker, despite his youth he is compelled to quickly mature and make the hardest decisions, thus putting others before himself. It’s that selflessness that endears his character to so many, though largely an idealistic liberal minded humanitarian his moral upstanding principled approach can be so easily embraced by all. Growing up and facing responsibility is part of the maturation process, and rising to any and all challenges essentially creates character and forms our value systems – in many ways the film provides this metaphor through its thematic elements.
Additionally, there is a clear masterstroke of genius in introducing the concept of the ‘Multiverse’ given that it opens (no pun intended) a range of narrative possibilities and stories, that present Marvel Studios with limitless cinematic media potential. The only restrictions are the obvious limitations imposed by studio licences, associated legalities and regulations, but given that cross studio pollination is a means of printing money this won’t be an overtly preventative obstacle.
Unequivocally, Watts films serves as the more complete cinematic Spider-Man trilogy, especially when compared to Sam Raimi’s uneven set of films – with the third one being particularly maligned (though to be fair, Raimi himself was seemingly the victim of studio interference that corrupted his vision). However, Raimi may indeed enjoy some vindication with the upcoming ‘DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS’ (2022) which does bookend the conclusion of NWH’s end credits.
At the time of writing this review, NWH has already raked in an eye watering $1 billion at the Box Office (and counting) perhaps contingent upon the popularity of the character, strength of the franchise and the Midas touch of Marvel Studios cinematic arm. However, whilst meritorious these should not detract from the perfect casting and performances, excellent direction by Watts and exciting set pieces amongst many other strengths.
SPIDER-MAN: NO WAY HOME is a glorious, triumphant and brilliant example of contemporary cinema, that rare escapism with real heart and soul. And with further sequels guaranteed, the friendly neighbourhood Spiderman is sure to snare the adoration of cinema goers again and again in future iterations.