there’s a curse of types that’s change into connected to “the third Spider-Man movie”, one which’s introduced us one thing very dangerous, one thing very cancelled and now one thing very delayed. The poppy thrill of Sam Raimi’s first two instalments sputtered out in catastrophic trend with 2007’s much-ridiculed Spider-Man 3, a profitable but surprisingly inept franchise-killer which yanked the director away from the sequence, sad with the completed product and tired of attempting to course-correct. The subsequent spherical of reboots then discovered itself on related skids after a ho-hum second movie led to the creatives concerned additionally disassembling, The Amazing Spider-Man 3 fading into the ether.

Now after a Covid-afflicted shoot and the postponed launch that comes with that, we’ve Spider-Man: No Way Home, a big-budget tentpole tasked with not solely proving {that a} Spidey threequel can work however that, after a tough 12 months, so can a Marvel movie, an organization affected by the uncommon essential and business misfire that was Eternals. Is Tom Holland’s web-slinger as much as the duty? The reply is: principally sure.

After the final movie (a zippy Eurotrip with a enjoyable flip from Jake Gyllenhaal) ended with a giant reveal – that Peter himself was revealed to be Spider-Man to the whole world – the key lifetime of the highschool scholar was by no means to be the identical. In No Way Home, JK Simmons’s J Jonah Jameson (beforehand seen within the Raimi universe because the Daily Bugle editor) is now an Alex Jones kind fortunately spreading the pretend information that Peter Parker is a reckless killer to be feared and lambasted. It impacts not solely him but in addition his mates (a returning Zendaya and Jacob Batalon) and so he asks Doctor Strange (Benedict Cumberbatch) for a favour, to return to a world the place nobody is aware of his secret id. Yet one way or the other the spell goes awry and universes begin to open up, resulting in a grand battle between Parker and a few acquainted villains …

It was an inevitable shift; the principally contained, comparatively small-scale journey of the primary had already expanded with the second extra formidable, MCU-inclusive chapter with barely diminishing however nonetheless immensely satisfying returns. Bringing Spidey even farther from dwelling and even nearer to the centre of all issues Marvel was at all times going to occur however the query remained over how director Jon Watts would be capable to juggle that many extra plates with out all or any of them crashing to the ground. He does a fairly strong job right here, tasked with a substantial upping of the ante whereas bringing again quite a few baddies from the earlier Spider-Man universes, delivering a propulsive, slickly choreographed journey that may appease a broad fanbase this Christmas.

But the sacrifice that comes with a grander stage is a lack of the breezy teen film vibe of the primary two choices, giving strategy to principally unearned Marvel gravitas, as Serious Decisions should be made and Serious Losses are then felt. It’s a disgrace, because the lightness and real humour that had separated the Spider-Man films from a few of their extra po-faced friends solely is available in matches and begins, and even then, the quips too usually fall flat. The script, from sitcom writers Erik Sommers and Chris McKenna, lacks the anticipated fizz, that sense of shaggy enjoyable struggling to interrupt via a extra robotic plot.

The considerably grounded world of Peter and his mates makes for an uneasy bedfellow subsequent to the heightened fantasy of Doctor Strange, and a few self-aware jabs don’t actually do sufficient to distract from how jarring the 2 franchises really feel when smashed collectively. To attain some extent the place the movie can a minimum of considerably justify its many, many cameos (a few of which it will be merciless to spoil however the trailers have already revealed that Alfred Molina, Jamie Foxx and Willem Dafoe are again), Sommers and McKenna should do some critical pretzeling, forcing Strange to behave in ways in which make little sense (he’s set straight or outsmarted by youngsters on far too many events) and us to take care of some mediocre villains we barely bear in mind. The bellow of applause that met their return on the press screening will probably be heard at cinemas, and whereas some do genuinely work (Molina and Dafoe are the predictable MVPs), there’s one thing a bit overused and in the end a bit lazy about utilizing familiarity as a type of shock.

Tom Holland as Peter Parker and Benedict Cumberbatch as Doctor Strange. Photograph: SonyMarvel/Allstar


In a 12 months that’s additionally seen Cumberbatch’s biggest efficiency thus far, a shattering flip as a closeted rancher in Jane Campion’s The Power of the Dog, it’s disappointing to see him lumped with laboured one-liners as soon as once more as one of the vital highly effective but least attention-grabbing Avengers (“This is why I didn’t have kids” is one in every of many who wanted a critical punch-up). Holland and friends are as up-to-the-task as ever although, and whereas it’s a disgrace they’re not furnished with some higher strains, their mixed allure and lived-in chemistry carries quite a lot of the movie via.

While it will have been preferable to see a much less convoluted plot constructed extra from a want to progress somewhat than regress, counting on fan service as a driving drive, the script is extra coherent than it might have been given the numerous shifting elements and isn’t fairly as overstuffed as say Civil War, the third Captain America instalment that additionally pushed the sequence from its personal world to that of a number of others. It’s flawed for certain however nonetheless strikes with extra deftness than most (arriving after Eternals is a blessing for any Marvel movie) and there’s an ending that means an consciousness of its roots (post-credits scene apart), hinting at a promising manner ahead somewhat than again. Consider the curse of types type of damaged.

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