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“Spider-Man: Homecoming” (2017): Solid Swinging

Posted on by Thomas Mariani

Spider-Man Homecoming is the culmination of a lot of cinematic drama. No, not with the current Peter Parker as played by Tom Holland facing baddies. We’ve only previously seen him as one of many supporting characters in Captain America: Civil War. The true drama is that around Sony Pictures and the Disney owned Marvel Entertainment’s battle of character rights! Sony helped usher in the modern superhero film landscape with Sam Raimi’s Spider-Man films. However, as the Marvel Cinematic Universe developed for Disney, Sony struggled to get their own off the ground with the rebooted Amazing Spider-Man franchise. Now, the two have cooperated to bring Peter Parker into the fold and he’s got his own solo movie. Of course, that’s a lot of Spider-Man. To the point where this could easily confuse and disinterest folks. So, does this Spider-Man stand out?

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Definitely. The fact alone that Spider-Man Homecoming is in the MCU makes it stand out. Yet, it isn’t just tied by Tony Stark (Robert Downey Jr) making a few appearances. He certainly does, with Downey giving a decent 3/4 level of the typical smug arrogance. The more intriguing MCU connections really lie within the smaller nuanced examples of world building. We see the impact of these superheroes on a cultural level more than a disaster level, changing the dynamics of how people interact. This includes how a low level contractor like Adrian Toomes (Michael Keaton) deals with the struggles of government contractors swooping in and stealing his livelihood. It honestly feels more interesting on a street level view of this universe than any of the limited connecting threads within the MCU Netflix shows like Daredevil or Jessica Jones… though the opening set doesn’t feel too far off from that budget when compared the usual MCU film.

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It’s an intriguing motivation that sets Adrian apart from most of the dull villains of this universe, making him one of the better ones.  Yet… that’s not saying a lot. Aside from that amazing start of a motivation, Toomes just feels like a standard Marvel villain that’s only shaped a bit more rounded thanks to Michael Keaton’s traditional penchant for relatable evil in general. His motivation is left to the side for the sake of a twist that works in the moment, but ultimately falls victim to much of the problems of the typical Marvel villain. It doesn’t help that he spends most of his screentime in a grey design for his costume, which often gets lost in the shuffle of the lesser action sequences. He’s a far better villain for Spider-Man Homecoming in overview than execution.

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Really, the shining aspect of Spider-Man in the MCU is how average folks see this world of superheroes. That it’s a daily part of life, especially given they’re in New York where the attacks from the first Avengers film occurred. Yet, someone like Peter or his best pal Ned (Jacob Batalon) can still feel giddy about being a superhero. Peter and Ned’s relationship really holds the film together, giving us the lower perspective on the food chain both within high school and the MCU in general. They’re scrappy, awkward and in over their heads, but they are just so enthusiastic. Even if Ned is just “the guy in the chair”, he feels like he’s a part of something bigger. Much like Peter wants to be part of The Avengers. Being a superhero is the equivalent of joining a rag tag group of misfits for this teen movie, which is where Spider-Man Homecoming honestly shines the most.

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There’s a bit of inspiration from the likes of John Hughes in how this high school operates, but there’s also a decent dose of relatable groundedness that co-writer/director Jon Watts shines at. Watts’ previous film Cop Car had very naturalistic child performances that kept its intense thriller a bit lighter when needed. With Spider-Man Homecoming, the teenagers have an authentic awkwardness and blind drive that’s realistic, yet not so much as to make them annoying. Flash Thompson (Tony Revolori) has the right amount of douchebag ego that makes up for his lack in traditional size for the character. Michelle Jones (Zendaya) is such a hilarious intelligent character that you’re thrown off by the connection she has to the traditional Spider-Man universe. Even the smaller adult faculty member roles show off an authentic familiarity with their roles, whether it be the uncomfortable science teacher Mr. Harrington (Martin Starr) or the aloof gym teacher Coach Wilson (Hannibal Buress).

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Of course, Holland is the main spark that keeps this youthful energy alive. The way he oozes gumption and enthusiasm at every turn makes Spider-Man Homecoming such an endearing exercise. One can’t help but smile during the opening montage as he attempts to keep New York safe… even if he ends up screwing it all up. That consistent character trait of Peter Parker being a self sabotager, either by lesser attempts at saving the day or going to save the day instead of be an average teenager. The way Peter looks longingly at others having fun as he dresses in his superhero suit says everything about his struggles. This all is present in both the meek regular Peter Parker form and the potentially amazing yet clearly still molding attempt at Spider-Man. This makes Holland the best version of the character, given Tobey Maguire had a great grasp of Peter Parker yet not his heroic alter ego and Andrew Garfield… was honestly just giving a crappy opportunity. Holland exemplifies everything that makes a young version of this character work, making him the best of both worlds. He honestly brings out the best in Robert Downey Jr, who intermittently shows a strangely genuine paternal care for Peter that’s packaged between Tony Stark B-material he sleepwalks through.

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Tom Holland really manages to do so much that distracts from the clunkiness here. But the clunkiness isn’t a sign of doom. If anything, Spider-Man: Homecoming is less a great individual tale and more a solid foundation for a series of films centered around the webslinger to follow. One from which an entire series could spring from. Hopefully they take more from the film’s best sequence involving the Washington Monument elevator. It’s small scale, features characters we’ve been decently endeared to and shows Peter up against the ropes thinking on his feet. None of the action before or after this moment really crystallizes this, not being helped by some clunky story contrivances that really make a solid thirty minutes or so of this feel very long winded. There’s a consistent charm to Spider-Man: Homecoming, but hopefully it can eventually lead to the type of powerful character work that still makes Sam Raimi’s Spider-Man 2 one of the best examples of the superhero genre.

Rating: 3.5 Vats of Web Liquid Out of 5

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“The Nice Guys” (2016) – World’s Worst Detectives Done Good

Posted on by Thomas Mariani

A couple of mismatched charismatic leads? Check. Extensive shoot outs? Check. A precocious wisecracking kid? Check. An elaborate mystery plot that unravels over the course of the running time? Check. All the hallmarks of writer/director Shane Black are very present in his latest feature The Nice Guys. As a writer, Black reinvigorated the concept of mismatched buddy cops coming together to solve a case with his script Lethal Weapon, but few others could recreate that ingenious mix of crowd pleasing fun and solidly developed characters within this violent comedic adventure. Now that Black has been in the directing game for over a decade with the under appreciated gem Kiss Kiss Bang Bang and the mega blockbuster Iron Man 3 under his belt, he can go full-on Shane Black with his witticisms and on a larger budget.

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Warner Bros Pictures

One wouldn’t immediately imagine a comedic duo of acclaimed dramatic actors Russell Crowe and Ryan Gosling would be the best pairing. Crowe has largely put his initial leading man charisma to the side in favor of delivering blander no-nonsense performances for big pay in recent years along with his impressive physique. Meanwhile, Gosling has been known for much more experimental arthouse faire that mainly lets him display his hunky asymmetrical face in silence. Yet, for The Nice Guys, Gosling and Crowe manage to find a fun chemistry that plays on their traditional personalities while subverting them to hysterical effect. With Shane Black’s love of wisecracks and clashing personalities, these two dramatic heavy weights manage to find a common ground in the elaborate comedy, mainly because they are so committed to their characters. Crowe’s tough guy attitude is slowly softened by Gosling’s own damaged soul hiding under his own tough guy veneer. One is a lonely under appreciated goon for hire in search of a purpose in life, the other is a family man hiding behind liquor to lessen the pain of losing his love and raising a daughter on his own.

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Warner Bros Pictures

The Nice Guys has the type of masculine deconstruction Shane Black knows how to write, but in a way that never feels like an endless retread. These guys aren’t just Murtaugh & Riggs or Harry Lockhart & Gay Perry or even Tony Stark and James Rhodes. They’re their own men who have to deal with a hyper intensified situation, full of individual regret and snark that feels genuine for the situations Black creates. The type of charisma Russell Crowe and Ryan Gosling have manages to create a genuine conflict of personality types, but also deconstructs the sillier aspects of the buddy genre. When they face off against certain criminals, they argue about how well one is handling the situation over the other. It’s the type of unraveling that –  in the wrong hands – could fail miserably. Yet, Black, Gosling and Crowe have such a handle on who these characters are that the humor and development flow naturally. It shows Black’s biggest strength as a director: managing to turn his stock characters into grounded ones in context of how he deals with his actors. This shows off in the supporting cast, particularly Angourie Rice as Gosling’s precocious daughter, Matt Bomer as a unsympathetic killer and Keith David & Beau Knapp as henchmen with revolving motives.

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Warner Bros Pictures

The romp nature of The Nice Guys doesn’t just stop with the heightened nature of the characters, as it translates to the decor of the 1977 setting. The markers of the time period are rather obvious and pointed through the look of Los Angeles of the era, from the retro appearance of the famous Comedy Store Russell Crowe happens to live in to the news of the time Gosling deals with directly like the gas crisis or killer bees. Shane Black points them out rather obviously, but they’re treated less like major points for the characters to talk out and more as smaller details in the background that add to their own individual foibles and paranoia. That paranoia translates to how certain shots are constructed, particularly whenever Gosling and Crowe are in the middle of the more tense situations. There’s a ludicrous comedy element still feeding through the more intense scenes of investigation that keeps the danger alive. There’s even a brief acknowledgment of casualty for a henchman from Rice’s character that’s oddly endearing, doubling as deconstructing and touching thanks to Black’s careful hand. If there’s any real issue with how this world construction, it’s some of the lackadaisical consistency Black builds for the sake of a joke. Namely, the way he establishes a rather hilariously subversive scene of Ryan Gosling being cut by glass he’s broken with his hand, yet sets about allowing other characters to break through glass like a typical action film of the 1980s. It’s not a huge issue, but when he brings it up specifically in an early scene, it’s a bit odd that the cliche gets treated without much irony over the course of the film proper.

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Warner Bros Pictures

The Nice Guys is the type of summer rollick needed in a sea of sequels and adaptations. An original film spun on the fingers of familiar cliche that Shane Black can build on with his typical mixture of rye wit and unraveling mystery that makes the paying audience’s time worth it. Ryan Gosling and Russell Crowe’s unbelievable chemistry and the attention to detail Black has to the period makes it all so vibrant. The buddy comedy that comes about is consistently entertaining in typical Shane Black fashion, but it serves as a tight backbone that the rest of the story develops. Despite the fact that both of these screw ups are coming from very disparate places in their lives, they engage each other in hilarious yet meaningful conversation that develops these characters over the course of their running time. The Nice Guys doesn’t reinvent the wheel on buddy comedies, but it reintroduces the idea that it can be done without the necessity of an established franchise. Black knows how to build these characters on his own terms, something many modern screenwriters lack. Hopefully, we can see more original stories like these in theaters instead of an adaptation of an app about throwing birds around.

Rating: 4.5 out of 5 Party Mermaids

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“Neighbors 2: Sorority Rising” (2016) – Sisters Are Partyin’ For Themselves

Posted on by Thomas Mariani

Comedy sequels are tough. Extremely tough. The lightening in a bottle nature of comedy is already hard enough in an initial entry, having to subvert expectations and knock a solid amount of jokes out the park enough to entertain audiences. Luckily, writer/star Seth Rogen & director Nicholas Stoller managed to turn 2014’s Neighbors into a bonafide hit that made over eight times its budget in the US alone. So… how do you follow that up? One can’t just have a retread of a frat moving in, falling into the comedy sequel trap that made the concept a dry well for solid hits. Well instead of focusing on a bunch of bros partying at a frat, why not focus on a few sisters trying to fight for an equal right to party without – to paraphrase another Beastie Boys song – being treated as girls to just sexually objectify? Thus, we have Neighbors 2: Sorority Rising.

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Universal Pictures

With the first Neighbors, the most consistent elements revolved around the disgruntled confusion of Zac Efron and Dave Franco as they dealt with the end of college. Sure, Rose Byrne and Seth Rogen were funny, but had the more dry contradiction element of being parents while being irresponsible without progressing in a genuine way beyond the acknowledgement step. Franco and Efron in particular were much more the heart of that film as their childish antics held together a crucial moment in a young person’s life where things become hazy. Now for Neighbors 2: Sorority Rising that crucial moment is the start of college, where three freshman (Chloe Moretz, Kiersey Clemons and Beanie Feldstein) want to find their own way as friends wanting to expand their horizons comfortably in a system that means to objectify them. It’s a modern spin on the lovable partying films of Animal House, one represented by the old guard in Efron mentoring them in how to run a Greek house. This contrast allows for Efron to shine as the film’s greatest asset, with an affable idiot charm that’s far more consistent for hilarious jokes and an oddly – if slightly truncated due to a disappointing lack of Franco – arc about finding yourself in a post-grad slump.

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Universal Pictures

Then, we have Rogen and Byrne. Their antics become far more oppressive here, given Rose Byrne‘s real life pregnancy bled into the plot in a way that doesn’t allow for her to do much of the fun raunchy behavior of her first outing, instead being relegated to a few one off jokes or a speech to rally people. On the other side of this coin, Seth Rogen is further turned into a moron, including being sent on a rather poorly CGIed wild goose chase that wants to be a humorous bit of a cat & mouse game, but feels like a lame brained stab at a cartoonish gag. Speaking of which, the rather poorly implemented over the top slapstick from the first film returns in spades to even more diminishing returns. Rogen has proven himself far more competent at dialogue based character humor rather than slapstick, which here constantly seems like visually augmented retreads of Jackass stunts. Add in even more of the intolerably obnoxious Ike Barinholtz and you’ve got a plot that draws the joke train to a sudden halt during the second act.

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Universal Pictures

There’s a conflicting nature to Neighbors 2: Sorority Rising. The progressive edge is far more endearing than anyone would expect out of a comedy sequel, one that shines a light on an actual unjust rule against young women being able to enjoy themselves on their own terms. Yet, it’s constantly countered with a storyline focused on our older characters that seems to regress its characters and the easy fixes to their issues for the sake of cheaper laughs. An entire film centered around these girls seeking frat wisdom from Efron would have probably been for the better, as any sort of vehicle with far more Zac Efron would honestly be in their best interest. Between his incredible dancing skills and flawless comedic timing, the former High School Musical star has far more potential to spurt out like roast beef grease all over his gorgeous abs. His gorgeous… gorgeous abs. So even with its issues, Neighbors 2: Sorority Rising can at least say this much: it crosses the incredibly low benchmark of being a tolerable comedy sequel.

Rating: 3 out of 5 Hard Boiled Eggs

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