Video review: "Spider-Man: Far From Home"

When I first reviewed “Spider-Man: Far From Home,” I described it as “the fun ‘n’ games portion of the milieu,” which I think well describes this most lighthearted of the Marvel Comics Universe films.

(And also my penchant for fifty-cent words like “milieu”… and “penchant.”)

That was before the revelations of studio squabbling over the rights to Spidey, which appears to sound the death-knell for this iteration starring Tom Holland as the friendly neighborhood wall-crawler. That’s a shame, as I think Holland was the best fit for the role of Peter Parker/Spider-Man.

I really think being a teenager is inextricably linked to the dynamic of the Spider-Man story. What makes it compelling is the idea of a 15- or 16-year-old endowed with incredible powers at a time in life when most of us are struggling to forge an identity that will carry us through our adult lives.

Or just finding someone to kiss. Never underestimate the importance of that.

In this story, Peter’s science class is taking a field trip to Europe that seems to involve no actual scientific exploration. It’s basically a glorified holiday. Set in the events after the recent “Avengers” movies, Peter sees this as a chance to get back to regular-kid normalcy and try to turn his friendship with Mary Jane (Zendaya) into a boyfriend/girlfriend thing.

But then the trip keeps getting interrupted by world-threatening incursions from elemental creatures popping up and attacking cities. Peter is joined and mentored by Quentin Beck (Jake Gyllenhaal), a hero from an alternate universe to whom he quickly takes a paternal shine.

Nick Fury (Samuel L. Jackson) is there to ride Peter hard, while Happy Hogan (Jon Favreau) acts as a kindlier handler. He’s also making eyes at Peter’s Aunt May (Marisa Tomei, putting the character’s gray hair buns in the comic books to shame).

“Spider-Man: Far From Home” may not linger long in the memory, but perhaps it’s just what the superhero franchise needed in middle age: a little shot of fun for fun’s sake. This movie is dad’s red sports car.

Bonus features are quite expansive, and include an all-new short film, “Peter’s To-Do List,” showing the workaday preparations behind being a teen superhero.

I also count 11 making-of featurettes, a roundup of Easter Eggs, gag reel and other outtakes, previsualization of special effects vs. the final product and extended/alternate scenes. Pretty much the only piece missing is a filmmaker commentary track.

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Review: "Spider-Man: Far from Home"

I have received stern warnings not to hint at the “big reveal” in “Spider-Man: Far from Home,” so I won’t. All I’ll say is that if you can’t see it coming, then you must be new to the movies.

There are a couple more twists that are a bit harder to see, so stick around for the end credits for all the little Easter eggs.

This is the least consequential of all the Marvel Comics Universe (MCU) films. It’s lighthearted and feels like the cousin to that one Harry Potter movie that was more interested in teen snogging than the actual plot. It’s still plenty of fun, but is also fairly forgettable.

Peter Parker (Tom Holland) is on a European “science” trip with his class and only wants to get with MJ (Zendaya), his charmingly acerbic classmate. But then all that tedious superhero stuff keeps pulling him back in.

This takes place after the events from the last two Avengers movies, which if you haven’t seen, thar be spoilers ahead. As you’ll recall, five years passed after half of all life in the universe was disappeared by Thanos, but then was brought back by the heroes. Which means that everyone who “blipped,” as the Earth people now call it, stayed the same age while those who didn’t kept getting older.

The law of averages would indicate there would be some randomness to how many of the main characters blipped, but for the purposes of screenwriters Chris McKenna and Erik Sommers, who obviously wanted to KISS (Google it), everyone in Peter’s social circle blipped, including MJ and best friend/wingman/keeper of secrets Ned (Jacob Batalon).

With Tony Stark dead, Captain America old and Captain Marvel and Thor conveniently off-world again, Earth is looking for a new hero as its beacon. Peter, who’s still just 16 years old, would prefer to remain a modest Friendly Neighborhood Spider-Man. But former S.H.I.E.L.D. boss Nick Fury (Samuel L. Jackson) is intent on riding Peter until he relents.

Happy Hogan (Jon Favreau), Tony’s right-hander, acts as go-between while canoodling with Aunt May (Marisa Tomei), much to Peter’s dismay. Happy warns him not to ghost on Fury’s phone calls, without much luck.

(Seriously, try calling a Gen Zer. They consider it a personal affront.)

The job has the look and feel of a classic “we just made it up for this movie” scenario. Beings representing the four elements (fire, water, etc.) are popping up, and if left unchecked could destroy the entire planet. That’s what happened to Quentin Beck, a hero from an alternate universe, and he’s come to this version of Earth to stop the disaster from recurring.

Played by Jake Gyllenhall, Beck wears a cool green-and-gold outfit and has an obscuring mist-filled globe for a helmet, getting dubbed Mysterio by the cool kids. He immediately takes Peter under his wing, adopting the role of kindly uncle in stark contrast to Fury’s hardcase stepdad routine.

Holland is I think the best fit of all the Spider-Man actors, and at 23 is still fresh-faced and high-voiced enough to pass agreeably for a teen. His Peter still likes swinging between buildings and pummeling villains, but also wants his slice of normality. As MJ, Zendaya shines playing “the girlfriend” who’s usually a step ahead of everyone else.

Director Jon Watts returns from 2017’s “Spider-Man: Far from Home,” and I’m reminded that despite this only being the second standalone Spidey movie (of this, the third iteration), he’s been in a total of five MCU films, which practically makes the character middle-aged by recent standards.

This is definitely the “fun ‘n’ games” portion of the milieu, so my guess it’s set to get all dark and dreary next time around. Until then, enjoy this powder-puff stretch for what it is.

Video review: "Smallfoot"

“Smallfoot” is a better idea than movie. The twist is that in this story, bigfoots really exist, except to them we’re the mythological and frightening creatures. It’s a cool concept that gets watered down into a standard kiddie film with boingy action and a slathered-on life-lessons theme.

Channing Tatum voices Migo, a young yeti who is about to take over the prestigious job of gong-ringer. This means making the sun rise by catapulting himself across their Himalayan mountain village and slamming his head into a massive gong. His dad (Danny DeVito) has held the position for many years, and has literally shrunk in the job.

A lot of the things the yetis do are like that -- they’re fun but don’t make much sense. Still, it’s a bustling place with a lot of joy.

They have some strange laws, though, enforced by the stoic Stonekeeper (Common), who wears a robe consisting of stone tiles, each one inscribed with a law known to be true. One of them reads, “There is no such thing as a smallfoot.” Odd that they would have a word and a rule for something that supposedly doesn’t exist.

Soon enough Migo stumbles across a real smallfoot, aka human, in the form of Percy Patterson (James Corden), a down-market wildlife television personality who has come to the Himalayas in order to fake a bigfoot sighting and pump up his ratings. Then he runs into the real thing, they become fast friends and Migo takes him back to his mountaintop village.

This puts him in conflict with the Stonekeeper and the yetis’ entire belief system. But with a few musical numbers and antics, everything will turn out all right.

“Smallfoot” is animation for the whole family, or at least the sort under age 10. It’s a perfect movie for home video, since parents can hit the ‘play’ button and then find something better to do.

Video extras are decent, and include a new animated short, “Super Soozie,” about a yeti toddler. There’s also a sing-along mode, three music videos and a couple of making-of featurettes.

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Review: "Smallfoot"

Everybody’s a monster to somebody.

In this age of peak tribalism, people tend to cluster in like groups and don’t question the precepts of what they’re told. Especially for those whom life is good, it’s easy to stay in the bubble and enjoy. Everyone else is a potential enemy.

That’s the message of “Smallfoot,” a modestly entertaining animation flick that will certainly thrill wee ones more than adults. I found the themes heavy-handed and the pacing rather draggy.

I bet kids under age 10 will love it, though, and that’s who it’s aimed squarely at.

Channing Tatum, really reaching for the upper register of his voice, plays Migo, a young yeti -- as in bigfoot, sasquatch, etc. It turns out bigfoots (feet?) are real, and living in bliss at the top of a cloud-covered mountain the Himalayas. Daily life is a pleasant grind of chores, some of which make little sense, and good times.

Migo goes about 20 feet tall, has luminous ivory-colored fur, no nose and two horns on his head, one broken. He sort of resembles a distant cousin of Sully from the “Monsters Inc.” movies.

Migo’s dad, Dorgle, is the head gong-ringer, whose job is to be catapulted across the top of the village each daybreak and smash his head into the giant gong that beckons the emergence of the sun, which in their lore is a sun-snail traveling across the sky. (Sounds loopy, but it isn’t worse than some human mythology I’ve heard.)

Time has taken its toll: Dorgle is rather short for a yeti -- Danny DeVito does the voice; get it? -- but used to be taller than the towering Migo. Soon he will pass the mantle to his enthusiastic son.

The yetis have their laws written in stones, quite literally. Their leader is the Stonekeeper (Common), who wears tiles of stones formed into a robe, each one inscribed with a truth that goes unquestioned. The weight of the law is a real thing in this case. “It takes a strong backbone,” Stonekeeper says.

Chief among their laws is, “There is no such thing as a smallfoot,” which is their word for humans. You might think it odd that there is a law just to disprove a negative, and there are a few quiet naysayers amongst the yeti. Among them is Gwangi, the largest of their kinds voiced quite well by LeBron James, and secretly their leader is Meechee (Zendaya), the Stonekeeper’s daughter.

Migo meets up with a smallfoot but his claims are discredited and he is banished. In his exile he journeys to the human town below the mountain and bumps into Percy Patterson (James Corden), a schmaltzy British wildlife broadcaster. Think Steve Irwin, but less brave and more annoying.

His plan was to fake a yeti sighting to save his fading career. So when Migo carries him back to his village as proof, it’s a boon to them both.

I liked how screenwriters Clare Sera and Karey Kirkpatrick (the latter also directed) handle the language barrier. To the humans, yetis sound like roaring bear-lions; to the yetis, humans make squeaky mouse-talk.

There are several songs in “Smallfoot,” though I’d call this more a movie with musical interludes than a straight-up musical. By far the best is “Let It Lie,” with Common rapping out the hidden history of the yeti.

A middling bit of animation, “Smallfoot” is built for small children to love and parents to endure. Business proposal: movie theaters start featuring double bills in which grownups drop off their kids to see this in a supervised theater while they pop next door for something more to their tastes.

Video review: "The Greatest Showman"

“The Greatest Showman” was perhaps the quietest blockbusters of the past year. Released around Christmastime, it garnered respectful but not gushing reviews, and opened to modest buzz and box office. But this energetic musical, starring Hugh Jackman in a (very) fictionalized portrait of circus pioneer P.T. Barnum, kept staying around -- it “has legs,” as they say in the biz -- and ultimately grossed more than $400 million worldwide.

It’s a solid picture, filled with Broadway-style spectacle and songs, the sort of thing where the characters look right at you and belt their stories out in crescendoing first-person power ballads. It doesn’t feel particularly fresh or new, but it’s hard to deny the sheer entertainment value.

In this telling -- original screenplay by Bill Condon and Jenny Bicks, directed by rookie Michael Gracey -- Barnum is a dreamer who wants to spread joy to the world, as well as give a home to those who have been cast out and kicked aside as freaks. Michelle Williams plays his long-suffering wife, Charity, and Zac Efron is Phillip Carlyle, the young business-minded fellow who becomes his right-hand man.

The circus performers are a rogues’ gallery of bearded ladies, strongmen, Lilliputians and the like. A few stand out, notably Keala Settle as Lettie, the furry-chinned woman who can also knock the barn doors down with her voice, and Zendaya as Anne, a trapeze artist who dares a mixed race romance with Phillip.

Jackman, who also closed the book on his Wolverine character last year, is back in his element as a song-and-dance man, charismatic and haunted. During the course of the tale, Barnum goes from low to high and back again, tempted by a famous songbird (Rebecca Ferguson) he signs to a contract to show the world he’s not just a purveyor of oddities.

People keep saying “the musical genre is back,” until it goes away again. As long as we get a good one every few years like “The Greatest Showman,” I’m all in tune.

Bonus features ae pretty good with more than two hours of extras, including a sing-along edition and music machine “jukebox” function. There’s also a making-of documentary, dance tutorial, feature-length audio commentary with Gracey, still photo galleries and a featurette on the Barnum family.

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Video review: "Spider-Man: Homecoming"

From a creative standpoint, Spider-Man is deep in middle age, debuting in Marvel Comics some 50-odd years ago. Even as a cinematic hero, Spidey is hardly a newbie, with seven films and three different sets of actors portraying the web-slinger since 2002.

But the latest iteration, “Spider-Man: Homecoming,” is very much a product of teenage angst. Its hero, Peter Parker, is a 15-year-old high school sophomore played by Tom Holland. He’s a pretty typical kid: he’s a nerdy brain on the academic all-stars team, pines for an unattainable senior girl (Laura Harrier) and has a close circle of like-minded friends, chiefly fellow geek Ned (Jacob Batalon).

Except for one thing: he’s also secretly Spider-Man, who sneaks off from school and the Queens apartment of his Aunt May (Marisa Tomei) to fight low-level evildoers.

After getting a taste of Avengers action at the behest of Iron Man/Tony Stark (Robert Downey Jr.), Peter is eager to leave his dull school life behind and join the super-team full-time. But the invitation seems to have gotten lost in the mail, though Stark did give him a super-suit with a bunch of cool features to help him along.

Michael Keaton plays the villain, who’s not really at the center of the story. He plays the Vulture, aka blue-collar contractor-turned-criminal Adrian Toomes, who parlayed some of the alien technology that fell on Manhattan a few years ago into a thriving underground enterprise. He and Spider-Man run afoul of each other’s activities, with the professional antagonism eventually taking a decidedly personal turn.

Directed by Jon Watts from one of those screenplays-by-committee, “Spider-Man: Homecoming” can be rather uneven at times, with cockeyed action scenes and a little too much silliness for its own good.

But it energetically takes the hero back to his roots, without rehashing old creations myths. (Does anybody need to see that radioactive spider bite thing ever again?)

Holland may just be the best Spider-Man yet, giving us a teen in turmoil who just happens to be able to bench-press a bus.

Bonus features are quite expansive, starting with “The Spidey Study Guide” with all sorts of wiki-style info and clues about the web-head. There are also 10 deleted scenes and seven making-of featurettes, ranging on everything from storyboarding to creating the film’s oft-amazing stunts.

There is also a production photo gallery, a gag reel and more of those hilarious “Rappin’ with Cap” fake public service announcements featuring Chris Evans as Captain America, which were briefly glimpsed in the film.

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Review: "Spider-Man: Homecoming"

“He treats me like I’m a kid!”
“But you ARE a kid.”
“Yeah, but one who can stop a bus with his bare hands!”

The newest film iteration of the most popular hero in the Marvel catalogue, “Spider-Man: Homecoming,” is a lot like a real teenager. It’s uneven, running hot and cold, is more than a little neurotic, self-centered and even annoys you at times.

But the movie is also filled with a vibrancy that practically beams off the screen like a beacon.

I know, I know… it seems crazy to think this is the sixth Spider-Man movie in just 15 years -- plus a featured turn in the last Avengers flick -- with three different sets of stars and filmmakers.

But honestly, I’m not tired of it. Especially when “Homecoming” takes things in quite another direction. More than any other super-hero movie, this Spider-Man is unsure of himself, hesitant, even scared.

Speaking of the number 15, that factors heavily into this conception of the webslinger: that’s how old Peter Parker is supposed to be. Think about that for a moment. Consider what you were like at 15: your decision-making powers, your sense of responsibility, how able you were to resist temptation when it presented itself. Now imagine you can lift a tractor and dodge bullets.

Star Tom Holland was 20 when they shot this movie, but easily passes as a high school sophomore. He uses a tremulous voice and an expressive face to portray a kid struggling to find his place in the world alongside some very unique challenges. His yearning to belong, and to be something more, is palpable and affecting.

As the story opens, Peter is sneaking off from school and shunning any social engagement to work on “the Stark internship” -- the cover story he feeds to his Aunt May (Marisa Tomei) and few friends, notably exuberant fellow nerd Ned (Jacob Batalon). That’s a reference to Tony Stark, aka Iron Man, who gave Peter a super-suit to upgrade his red-and-blue underwear. Robert Downey Jr. shows up a few times to mentor or berate, as needs be.

But after helping in the Avengers clash, future missions are not forthcoming. Peter’s texts and calls to Stark and his right-hand man, Happy (Jon Favreau), largely go unanswered. Instead of getting what he really wants -- an invitation to join the Avengers team -- Spidey spends his time fighting petty criminals in and around his home in Queens.

He runs afoul of Adrian Toomes, a blue-collar scrap man who stole some alien technology from the extraterrestrial attack depicted in the first Avengers movie and is turning it into powerful weapons he’s selling on the street. Played by Michael Keaton, Toomes also has his own winged flying suit -- Peter dubs him the Vulture -- and a crew of henchmen, including Bokeem Woodbine as a guy which a shockingly strong prosthetic fist.

It’s not one of the better villains in the Marvel movies, but the filmmakers have made a conscious choice to focus more on the guy behind the Spider-Man mask than concocting some world-beater threat. There’s also no J. Jonah Jameson, Daily Bugle or freelance photographer job.

There are girls, though, specifically two: Liz (Laura Harrier), a smart senior Peter has been crushing on for some time; and Michelle (Zendaya), a morose outsider who always seems to be hanging around the fringes with Peter and Ned, mocking them for their loser status while embracing her own. They’re all on the academic all-star team together (or quiz bowl, as they called it back in my day), so there are opportunities for trips and trysts.

Director Jon Watts nails the angst and turmoil of his protagonist. I wish his action scenes were better-staged, often seeming jagged and off-angle. The screenplay could use some tweaking and trimming, but with six (!) credited writers, we’re definitely wading deep into creation-by-committee territory here.

The movie is clever and full of self-aware humor, such as when they mock the famous upside-down kiss from the first movie. “Spider-Man: Homecoming” wisely doesn’t ignore the previous films, but acknowledges the hero’s mythological middle age while finding a new offshoot that’s young and fresh.