Spider-Man: Far From Home picks up shortly after Avengers: Endgame. Tony Stark is dead and the world is mourning his loss and is trying to move on after Thanos’s snap and then the reverse snap, which is being called “The Blip.” Eager to escape the mounting responsibilities being put on him by Nick Fury (Samuel L. Jackson), Peter Parker (Tom Holland) joins his class for a summer trip to Europe, where his only concerns are enjoying himself and trying to tell MJ (Zendaya) that he likes her.
Unsurprisingly, he is soon caught up again into superhero antics when a set of new threats called Elementals appear, but it seems Peter is not alone in fighting them this time. He meets a new hero named Quentin Beck, aka Mysterio (Jake Gyllenhaal), who may not be everything he seems.
Far From Home is a mixed bag, but it is undeniably entertaining. The Spider-Man corner of the MCU continues to be at its best when it focuses on normalcy. The humor that comes from the class and vacation situations are by far the best parts of Far From Home. Martin Starr and J.B Smoove are particularly delightful as Peter’s teachers, and Marisa Tomei, Zendaya, and Jacob Batalon continue to be great as Peter’s inner circle who keep up the push-and-pull between Peter’s civilian identity and his role as Spider-Man.
Beyond the humor, though, are some truly affecting dramatic moments. Similar to the tear-jerking part in Homecoming when Peter gets trapped under the rubble, or when Peter gets dusted in Infinity War, the scene where Mysterio first uses his illusions on Peter is startling because it emphasizes Peter’s youth, and it is truly disturbing to see him being manipulated and beaten down in such a brutal fashion. Holland has some solid dramatic chops, and he gets to use them again here. I applaud the film for not pulling any punches and letting this young hero get a true “dark night of the soul” moment.
The film also lets Peter makes some terrible mistakes that make him look foolish at best and unworthy of being Spider-man at worst. It’s a touch of sophistication that is missing from many other MCU films that typically rely on the hero’s darkest hours coming from external forces and not from their own mistakes. In this regard, this second Marvel-Sony Spider-Man entry is quite ambitious.
Far From Home falters, however, in part because of this ambition. It goes bigger, and it doesn’t hit the mark on everything. The multiple bombastic action sequences are bland because most of them are Peter against faceless entities of water or fire or drones, which result in no emotional connection to the audience and a CGI mess on the screen.
This ambition extends to the movie’s themes. The story seems relevant with its inclusion of fake news, drones, technological warfare, illusions, not being sure what is real and not, and an undercurrent of what I can only describe as Gen-Z Anxiety™. All of those things are relevant, but the movie never quite gets around to saying anything meaningful about those things. Peter defeats them through his superpowers, so what does that mean for those of us who don’t have superpowers? Ultimately, just because the movie has timely elements doesn’t make it so, because it fails to understand what makes these things timely in the first place.
This brings us back to Mysterio, who, like Michael Keaton’s villain Vulture in Homecoming, is a regular man who feels like he was cast low by Tony Stark and decides to retaliate by becoming evil. But while the film, and the MCU at large, seems to want to give some commentary on Tony’s problematic aspects, by making his critics evil maniacs, the wind is taken out of any serious arguments against Tony and instead just affirms him. His critics are all evil, and he saved the world, so in the end, he must have been in the right.
Happy Hogan (Jon Favreau) does say late in the movie that Tony was a “mess” and “always doubted himself,” which is true and is in line with the character’s development in losing his self-assuredness and gaining humility. But then moments later Happy makes an explicit connection between Tony and Peter, and since Peter is our heroic protagonist, any legitimate criticism of Tony is once again undercut in favor of the MCU’s RDJ-worship. All of this renders Mysterio a promising character played well by an underused Gyllenhaal, who never quite gets to shine as he should.
In the end, Far From Home confirms what some other recent MCU films have been showing, which is that Marvel is getting bolder and riskier, but still doesn’t quite have it in them to either go all the way or have the proper execution. I’m glad they’re trying, but they’re still far from a home run.