Spider-Man No Way Home IMAX review: Tom Holland shines in blockbuster blast

Spider-Man: Marvel releases second trailer for No Way Home

We use your sign-up to provide content in ways you’ve consented to and to improve our understanding of you. This may include adverts from us and 3rd parties based on our understanding. You can unsubscribe at any time. More info

Spidey swung into cinemas this weekend and smashed box office records. The final Marvel film of the year just landed the third-biggest opening weekend of all time with $253million in the US and $587million worldwide. Impressive enough at the best of times, it is incredible in a pandemic. And if you’re gonna see one of the biggest films of all time, make sure you do it on the biggest screen possible. No Way Home was filmed entirely in IMAX format, giving us all an extra 26% more screen. They need all that screen space to cram in a staggering array of villains, emotion and… well, further down we will get to some major SPOILERS with another warning giving you time to swing out.

Spider-Man, Far From Home was a decidedly mixed bag, with an unconvincing plot and villain (despite Jake Gyllenhaal’s best efforts) and some extremely dodgily dated and Americanised views of Europe. It ended with Mysterio revealing Spider-Man’s identity with his dying breaths.

This time around, Peter Parker has to face big screen enemies from the past twenty years of movies after he ruptures the multiverse, after persuading Doctor Strange (Benedict Cumberbatch) to cast a spell to make the world forget who he really is.

The opening hour is a frenetic whirl as The Green Goblin (Willem Dafoe) from Spider-Man (2002), Doctor Octopus (Alfred Molina) from Spider-Man 2 (2004), Sandman (Thomas Haden Church) from Spider-Man 3 (2007), and Lizard (Rhys Ifans) from Amazing Spider-Man (2012) are brought into our world and, in may cases, back to life.

It’s fun but a bit frantic, with no time to explore any of their individual narratives or even reactions to their sudden translocation and reanimation. It’s a tangled web with no real sense of jeopardy or emotion. As so often with Marvel, the villains remain the weakest link.

Peter, being a nice kid, wants to find a way to send them back where they will remain alive and, with the help of Aunt May (Marisa Tomei) rehabilitated. Understandably, we are all struggling to care until the movie pulls a huge switch and everything changes. The second half of the movie is a triumph of fan-service and full-blast entertainment (and heartbreak). DO NOT READ beyond here if you do not want to know the main twists. 

The interplay between all three Spideys is pure cinematic magic, by turns geeking out at each other, but also sharing a unique bond and brotherhood forged in a power and innate loneliness that nobody else can understand.

All three are wonderful but there is one particular moment with Garfield in the final battle that actually brought me to tears. Of the three, he had the raw deal with his on-screen incarnation, but this film reminds us how good he was in the role and gives him a heart-wrenching moment of catharsis.

Cumberbatch continues to grow into his role as the (ex) Sorcerer Supreme and the film starts the huge process of bringing the multiverse into the live-action MCU. It is a worthy conclusion to Holland’s (hopefully first) trilogy of Spider-Man movies. While it suffers from the common Marvel malaise of maneuvering plot points around simply to set up what comes next in the MCU, it is anchored by a commanding performance from Holland that firmly establishes him as a major film star.

Source: Read Full Article