What better time to name my favorite film of 2018 than in the deep end of August 2019?
Okay, okay, you’re probably wondering “why even do this at this point?” and that’s fair. The reason I’m still bothering to write this is quite simple…
Because I want to.
You may now be wondering why I didn’t do it sooner, and the truth of the matter is, there is no particular reason other than I’ve just been busy (hence my slower updates over the last couple of months) and when I have had the chance to update this site, I’ve been preoccupied with other things, like reviews and such. And I would have got to this sooner, except there were still some 2018 films I had wanted to get around to seeing the past few months before I made anything “official” (at least, as official as things can be on a site where I can edit things later to reflect changing opinions). And well, it took me longer than expected.
*Caution: This review contains spoilers to Avengers: Endgame’s plot. Though the fates of certain characters from that film will be absent*
Avengers: Endgame may have concluded the Marvel Cinematic Universe so far, but Spider-Man’s second MCU solo outing, Far From Home, serves as something of the epilogue to Marvel’s “Phase Three,” and everything in the MCU up to this point. Far From Home obviously doesn’t share the sense of finality that Endgame had, but the effects of Endgame reverberate throughout Far From Home, letting audiences know that the MCU will never quite be the same again.
This is admittedly a little bit of a doubled-edged sword for Far From Home. It’s certainly a capable sequel to 2017’s Spider-Man: Homecoming, but with the exception of Peter Parker/Spider-Man (Tom Holland) himself, no one in Spider-Man’s corner of the world seems to acknowledge the severity of everything the world (let alone the universe) is recovering from post-Endgame. Far From Home is a good Spider-Man movie (though it’s no Spider-Man 2 or Into the Spider-Verse), but it can at times feel like its scrambling to remember its placement in the wider MCU.
While past MCU films have, for the most part, taken place in or around the year they were released, Spider-Man: Far From Home marks the beginning of a new trend, as the MCU timeline currently sits in the year 2023 post-Endgame. Thanos wiped out half of all life in the universe using the Infinity Stones in Infinity War, before the Hulk used the stones to bring back everyone snapped out of existence into the current day in Endgame.
Far From Home does have some good fun with the premise, with a school news reporter mentioning how he was among those snapped out of existence for half of a decade, while his younger brother remained during those five years and is now his older brother. Some of these jokes land, but it is a little off-putting that Thanos’ cosmically catastrophic actions are almost exclusively referenced in a comedic sense. In Endgame we saw the devastation and tragedy of it all, with many people (including Captain America) seeking counseling because of the continued grief the world was suffering.
On one hand, Spider-Man: Far From Home has a Get Out of Jail Free Card for the consequences of Infinity War and Endgame being brushed to the side: Peter Parker and his friends are still in high school. If anyone is going to shrug off the fact that half of the entire universe was turned to dust and subsequently resurrected five years later, while still worrying and prioritizing their daily drama, it’s high schoolers. So the film can be forgiven when Peter Parker’s friends still go about their usual routines despite the fact that they were among those snapped out of existence for five years by Thanos. Less forgivable, however, are when characters like Aunt May (Marissa Tomei) crack jokes about the whole situation at fundraiser events. Some lightheartedness following-up the drama of Endgame is fine, but if you get too jokey with it, you risk undermining the ongoing narratives of the MCU (no one in Star Wars, for example, cracked jokes about Alderaan getting blown up by the Death Star).
Even though Far From Home’s placement after Endgame could have been handled better, its placement as a sequel to Homecoming is much more successful.
Far From Home sees Peter Parker and his classmates heading on a two-week field trip of Europe, where Peter hopes to take a break from super hero-ing as Spider-Man and confess his feelings for MJ (Zendaya), his classmate and crush. But seeing as a movie solely about Peter Parker on a field trip would probably be a bit of an underwhelming Spider-Man feature, things naturally don’t go quite so smoothly.
Agents Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders) of S.H.I.E.L.D. have been investigating the sudden emergence of Elementals – monsters who are, naturally, based on the elements of earth, fire, water and wind – who threaten the balance of Earth. Normally in a situation like this, Fury would call on the aide of the Avengers, but in this post-Endgame time, the Avengers aren’t so easy to call upon. While the answers to the whereabouts of each Avenger will probably be revealed in their upcoming sequels, the simple fact of the matter is they are outside of Fury’s contact. Spider-Man is the only available Avenger, and so Fury, using his influence, has pulled the strings to set up Parker’s field trip to Europe, where the Elementals are spawning.
A super-powered man from another dimension named Quentin Beck (Jake Gyllenhaal), has fought the Elementals in his own world, and is determined to prevent the creatures from causing the same levels of mass destruction to this world as they did to his. Beck has been working with Fury, and needs help if he is to stop all of the elementals, hence the need for another hero like Spider-Man.
The film does a good job at dealing with Peter Parker’s double life, as any good Spider-Man film should. Sure, not all of the comedy works, and I still find this interpretation of MJ as well as Peter’s best friend Ned (Jacob Batalon) to be pretty annoying. But Tom Holland still makes for a great Peter Parker/Spider-Man, giving the character the right blend of humor and likability. Additionally, Jake Gyllenhaal’s presence enhances the film much in the same vein (but in a completely different way) that Michael Keaton did in Homecoming.
The story does have a few rough patches. Again, how Far From Home continues from where the MCU left off in Endgame could have been handled better. But as a Spider-Man sequel, Far From Home does another great job at telling entertaining, sometimes compelling stories through both of Peter Parker’s personas.
Spider-Man: Far From Home does feature a little bit of a twist involving Mysterio later in the film. Those who know about the character from the comics and other materials will definitely see it coming, but I can also imagine the nature of the twist might be divisive for some audiences. The MCU is no stranger to divisive plot twists, with Iron Man 3 in particular being a polarizing film due to its midway narrative shift. I can imagine some might feel Far From Home’s twist may bring that of Iron Man 3 to mind in some respects, though I believe the twist to be handled much better here, since it ultimately connects with established elements of the MCU and doesn’t undermine the themes the film had built up until that point like Iron Man 3 did.
Spider-Man: Far From Home is another solid installment in the unprecedented mega-franchise that is the Marvel Cinematic Universe. The comedy might not always hit the mark, especially when it comes at the expense of the rather serious events of the past two Avengers films. But it makes for a worthy sequel to Homecoming. Far From Home is consistently entertaining, with great action set pieces for Spidey and some good character moments for Peter Parker. And while many MCU films can feel like their events are merely stepping stones on the way to the next big crossover, Far From Home tells a nice, self-contained story, and ends with a fun tease as to where Peter Parker/Spider-Man’s story will go next (with a mid-credits sequence that includes a cameo that I won’t dare spoil here, but that I will say is the single best piece of fanservice I think the MCU has provided so far).
The film may present Spider-Man as a smaller-scale super hero (which seems a little questionable by this point), but Far From Home is another testament that our friendly neighborhood Spider-Man may just be the heart of the Marvel Universe.
*Caution: This review contains spoilers regarding the first few minutes of Infinity War, and regarding the ending of previous MCU film Thor Ragnarok*
The Marvel Cinematic Universe proved to be the most successful gamble in movie history. What was at one time (if you can believe it) a risky move to see if the “shared universe” concept of comic books could be translated to cinema, the MCU has since become the biggest franchise in movie history.
When The Avengers was released in 2012, it brought together Tony Stark/Iron Man (Robert Downey Jr.), Steve Rogers/Captain America (Chris Evans), Bruce Banner/the Hulk (Mark Ruffalo), Thor (Chris Hemsworth), Natasha Romanoff/Black Widow (Scarlett Johansson) and Clint Barton/Hawkeye (Jeremy Renner), the former four having a feature film or two of their own beforehand, and the latter two having ‘guest roles’ in those same features. At the time, this was an unprecedented feat, and marked the point when the MCU came to fruition.
Little did we realize that The Avengers wasn’t the big payoff, but merely the end of the opening act of the Marvel Cinematic Universe. An unseen threat loomed behind the action in The Avengers, with the film’s mid-credits sequence revealing the foe to be Thanos, an intergalactic despot of immense strength and cataclysmic ambitions. That wasn’t a simple tease to the next Avengers film, however, as 2015’s Age of Ultron felt like an odd detour in the proceedings. The Thanos reveal was a glimpse at the full story arc of the entire MCU.
It would take the MCU a full decade from the release of Iron Man – the first film in the mega-franchise – before it reached its crescendo. After eighteen proceeding films from 2008 to 2018, everything came to a head with Avengers: Infinity War, the “first half” of the conclusion of the MCU up to this point.
Yes, after all this time, Thanos (Josh Brolin) decided to finally get off his floating space chair and go on his universal Easter egg hunt for the six Infinity Stones – five of which had been featured as previous plot devices in the MCU – with which he can alter all of reality as he sees fit with the snap of his fingers.
Infinity War begins shortly after the events of Thor Ragnarok. The spaceship housing the last surviving Asgardians after the destruction of their homeworld has been overtaken by Thanos and his cult-like followers, who have already claimed one Infinity Stone. Thanos has killed half of the Asgardians on the ship and subdued Thor, and bests even the Hulk in quick fashion, before finally killing Loki (Tom Hiddleston) to claim the Tesserect, and the second Infinity Stone within it. A dying Heimdall (Idris Elba) uses the last of his power to send Hulk to Earth, to warn its heroes of Thanos’s impending invasion. The Hulk winds up in the Sanctum Sanctorum, where he reverts back to Bruce Banner, and relays the warning to Dr. Strange (Benedict Cumberbatch).
This all happens in about the first five or so minutes of the film. It’s certainly a strong opener for Infinity War, filled with a surprising amount of emotion, and effectively showcasing Thanos as the ultimate threat in the MCU. Though on the downside of things, if you were a fan of Thor Ragnarok, that film’s hopeful ending is undone almost instantaneously here.
Without going into too much detail, the plot from then on out involves Thanos’s quest for the remaining Infinity Stones, and how it draws the various Avengers (and Guardians of the Galaxy) from all over the cosmos to try and put a stop to his machinations. In terms of the sheer amount of characters present from so many different movies, and how the story takes them to different corners of the universe, Infinity War presents an unprecedented scope.
On top of the aforementioned heroes, we also have Wanda Maximoff (Elizabeth Olsen), Vision (Paul Bettany), T’Challa/Black Panther (Chadwick Boseman), Peter Parker/Spider-Man (Tom Holland), James Rhodes/War Machine (Don Cheadle), Sam Wilson/Falcon (Anthony Mackie), and Bucky Barnes/Winter Soldier (Sebastian Stan). In addition, the Guardians of the Galaxy consist of Peter Quill/Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax the Destroyer (Dave Bautista), Mantis (Pom Klementieff), Groot (voiced by Vin Diesel), Rocket the raccoon (voiced by Bradley Cooper) and Nebula (Karen Gillan). Strangely, despite being one of the original six Avengers, Hawkeye is suspiciously absent.
Unquestionably, this is the biggest cast of any super hero movie. It would be easy for the film to collapse on itself under the pressure of juggling so many different characters and trying to give them all a place in the story. But Infinity War, against all odds, manages to make it work. Sure, its balancing act isn’t quite as perfectly executed as the original Avengers in 2012, but considering how many more heroes were added to the MCU since then, the fact that Infinity War manages to tell a coherent story at all is in itself a minor miracle.
In an interesting twist on super hero norms, it’s the villain of the story, Thanos, who is the closest thing Infinity War has to a main character amidst its robust ensemble. And this was probably the only way it could have gone. The first Avengers reused a villain in Loki, in order to keep its focus on joining its heroes together, and it worked beautifully. Age of Ultron floundered more than a little bit because it rushed its titular villain’s entire story arc into a single film that was also trying to tell so many other stories.
The MCU as a whole had been teasing Thanos’s role as the ultimate big bad of its mythology since the first Avengers film, though he was mostly shrouded in mystery. His goal of obtaining all the Infinity Stones was made clear from the get-go, but that was the extent of audience’s knowledge of the character. Infinity War ends up working by being the payoff to Thanos’s hype. While The Avengers could keep its focus on the heroes by enlisting a fully-established villain like Loki to fill the antagonist role, Infinity War kind of does the opposite. Seeing as this is the third Avengers film, the MCU is used to seeing its heroes teaming up by this point. By shining the spotlight on a villain we only saw hints of in the past, Thanos is able to become a fleshed-out character, and serves as the anchor that holds this massive story in check. And Josh Brolin gives a standout performance that makes the character live up to the hype.
On the subject of Thanos, I guess it’s only fair to address the elephant in the room. The Mad Titan’s motives for wanting the Infinity Stones is finally made clear in Infinity War, and it’s proven a bit divisive.
After Thanos’s home planet became overpopulated, its resources were ravaged at an alarming rate, leading to the planet’s complete collapse. After that, Thanos became obsessed with population control, and initially accomplished this by means of traveling to different planets with his armies, and killing half of their population, thus “saving” those worlds from suffering the same fate as his, in his warped mind. Thanos seeks the all-powerful Infinity Stones because, with all six incrusted in his gauntlet, he can eliminate half of all life in the universe with a single snap.
The point of contention with all this being that, if possessing every Infinity Stone would essentially make Thanos omnipotent, why wouldn’t he use such godlike ability to create more resources in the universe? Even I admit that point popped up in my head the first time I watched Infinity War. However, everyone who cries foul that this is some sort of gaping plot hole is sorely mistaken. It’s certainly not a plot hole (at worst it would be considered inconsistent logic within the character), but repeat viewings have proven this to be entirely consistent with Thanos as he is portrayed in the film.
Thanos is an unflinching sociopath. He is nihilistic when it comes to the lives of others, and has a god complex when it comes to himself (suffice to say, a volatile combination). In his perverted mind, making more resources would mean people would ravage them twice as fast. He’s utterly faithless and hopeless in regards to his fellow man. Not to mention, by controlling the population of the entire universe, Thanos would simultaneously be feeding his god complex.
Some would argue that such details need a better explanation in the film, but do they really? If you take the time to study the character, instead of just jumping at the first opportunity to lambast a movie for its perceived faults, Thanos’s actions explain it all. Besides, it’s a vast improvement over the comic book version, in which Thanos is in love with the personification of death, and wishes to wipe out half of all life to win her affections (Geez! Killing half the universe just to impress a girl? Slow down there, High School!).
What ultimately matters, however, is that Infinity War succeeds in making Thanos the ultimate threat of the Avengers and company. Though some may miss the carefree entertainment of the first Avengers film, it makes sense that the series would grow up and mature for its grand finale. And Infinity War is a fittingly dramatic epic that brings a sense of urgency to the MCU that hadn’t been felt before.
That’s not to say that the fun has gone away from the series. Our heroes retain their distinctive personalities and sense of humor, so the film still finds time to lighten the mood when it’s appropriate (with Tony Stark and Drax getting the best comedic bits). Just don’t expect the villains to be cracking jokes in the way Loki and Ultron did.
Naturally, there’s still a good deal of action sequences to be had, some of which are among the best in the MCU. There may not be a single battle as memorable as the fight for New York at the end of the first Avengers, but we still get a good fill of action set pieces.
Infinity War isn’t perfect, of course. There are so many characters here that, naturally, some will comparatively get lost in the shuffle. It seems every Avengers film features a character who drew the short end of the stick (Hawkeye in the original, Ultron himself in Age of Ultron). Here, it’s Vision who comes across as little more than dead weight for the team. Sure, not everyone could have a big role in a film that has so much going on, but considering the character entered the picture in Age of Ultron with some promise (he managed to lift Thor’s hammer), the fact that he fizzles out so spectacularly in the big payoff movie makes Vision feel like a disappointment.
As stated, Infinity War just has so much going on, that it doesn’t always have as clear of a focus as the first Avengers (though it certainly has more of it than Age of Ultron). Again, I can’t be too hard on it, because the fact that it works at all – let alone as great as it does – is a true achievement. But I’d be lying if I said there aren’t a few moments of exhaustion from the sheer size of the film.
Avengers: Infinity War may have some rough edges, but it is no doubt an appropriately epic and dramatic first chapter to the conclusion of the MCU (so far). It ups the stakes of previous entries considerably, and even tugs at the heart at times. And even when the film may start to feel overstretched at times, it’s memorable villain who lives up to the hype, in combination with the returning personalities of the heroes, helps keep it afloat. This is a grand finale (at least, the first part of it) that actually feels grand.
Spider-Man: Into the Spider-Verse is some kind of revelation. A western animated feature that creates a visual look that’s completely removed from the Pixar style that has remained the basis of the medium for over two decades and, even more notably, a super hero film that’s wildly original. Into the Spider-Verse is not only the best Spider-Man film since 2004’s Spider-Man 2, it’s one of the best Marvel movies period, and one of the best films of 2018.
The first thing audiences are bound to notice about Spider-Man: Into the Spider-Verse is its animation. Simply put, this is one of the most uniquely animated films ever made. It emulates the look of a comic book in a way no live-action film ever could. Although Spider-Verse is computer animated – as is the standard of today – it combines it with traditional hand-drawn techniques, and a unique cel shading to give it its aforementioned comic book vibe. It’s quite stunning to behold in motion.
Perhaps the best thing about Into the Spider-Verse is that its story nearly matches its visuals in the originality department.
Spider-Verse tells the story of Miles Morales (Shameik Moore), a teenager who, like the more widely known Peter Parker, is bitten by a radioactive spider, which grants him super human strength and agility, as well as a ‘spider sense’ that alerts him to danger. Sure, it doesn’t matter who is behind the Spider-Man mask, we all know the origin story so well any reminder of it comes across like a joke. And in fact, Into the Spider-Verse makes the origin story into its biggest running gag.
Yes, we do see how Miles Morales becomes the famous web-slinger, but the tale is given more than a few new spins. For starters, the Peter Parker Spider-Man (Chris Pine) already exists by the time Morales gets bit by the fateful arachnid. And soon after Morales gains his powers, he stumbles across an epic battle between Spider-Man and the forces of the Kingpin (Live Schreiber), which include the Prowler and the Green Goblin (whom, in this highly stylized version, is an actual goblin-like monster). The plot gets an extra dose of originality by how Miles (and by extension, the audience) just kind of happen upon Kingpin’s evil plot as it’s unfolding, instead of having a good chunk of the first act dedicated to explaining Kingpin’s plans.
What Miles stumbles on, however, is Kingpin’s attempts at opening portals to other dimensions. Though the machine used to achieve these means collapses on itself – causing great damage to New York City and even wiping out some of Kingpin’s forces – it does succeed on a small scale, allowing the Spider-Man equivalent of five other dimensions to enter Miles’ world.
These ‘Spider-People’ include a cynical, down-on-his-luck Peter Parker (Jake Johnson), who is divorced from Mary Jane Watson and quite out-of-shape, and becomes a disinterested, reluctant mentor to Miles. There’s also Spider-Woman (Hailee Steinfeld), the Gwen Stacy from a separate dimension, who took up the Spider-Mantle in place of her friend Peter Parker, who was killed in her world. These two, along with Miles, make up the film’s primary characters. Though another trio of Spider-Men join the fray later on: Spider-Noir (Nicholas Cage), a gumshoe from a 1930s dimension; Peni Parker (Kimiko Glenn), a Japanese female Peter Parker from an anime universe with a spider-mecha; and Peter Porker/Spider-Ham (John Mulaney), a pig from a slapstick cartoon universe who, in contrast to the rest of the group, was originally a spider before being bitten by a radioactive pig. As you might expect, it becomes the mission of Miles and his newfound Spider-Friends to prevent Kingpin from reactivating his machine and completely destroying New York City.
Admittedly, it is a bit of a shame that the latter three characters don’t get nearly as much screen time, seeing as they bring out the most style in this most stylized film. But I suppose sequels and spinoffs are already in the tank, so here’s hoping Spider-Noir, Peni Parker and Peter Porker can all star in their own movie, which can take advantage of their wildly different styles. Though hoping that the secondary heroes can get their own sequel is hardly a complaint, and is more telling of just how wonderfully realized Into the Spider-Verse’s heroes are that even the supporting cast leaves such an impression.
If there is one element that is a little disappointing, it’s in the film’s villain scenario. Kingpin is actually given a pretty unique motivation for a super villain, but his story ends up suffering slightly as it never really evolves beyond its initial reveal. Perhaps an even bigger misstep is that many of Spider-Man’s best villains, like the aforementioned Green Goblin and even Doctor Octopus, really end up feeling shortchanged as mere henchmen of Kingpin. Spider-Verse has some unique ideas for these villains, but by giving them bit roles, they feel wasted. Spider-Verse has an ace up its sleeve in regards to sequels in that, by introducing alternate universes, this series can continually reinvent these villains and promote them to the primary antagonist role. Though you do have to worry that the filmmakers may not go that route since they already used said villains.
These are ultimately small prices to pay for an otherwise stellar movie. Spider-Man: Into the Spider-Verse continuously finds new ways to reinvent not only Spider-Man, but the super hero movie genre as a whole. It’s briskly paced, throwing Miles Morales’ story into the grander plot without slowing down for the usual super hero expositions. And the film is a constant barrage of style and flashy visuals. There’s not a single moment in Into the Spider-Verse that doesn’t burn its way into your memory with its flashy colors, vibrant effects and fun character designs (Kingpin in particular, with his massive body and relatively small head, looks like he walked out of a Sylvain Chomet film). It’s the most uniquely animated film since The Tale of the Princess Kaguya.
In this day and age, where super hero films are a dime a dozen, Spider-Man: Into the Spider-Verse stands above its contemporaries by creating a super hero tale that looks and feels stunningly original. Into the Spider-Verse tells a story that makes one of pop culture’s most enduring heroes feel fresh all over again, and it does so with every last frame being drenched in style.
Control is something we too often take for granted in video games. Even exceptional games usually require the player to get into the meat of things before they get truly engaging. But every so often, a game comes along where it’s thrilling as soon as you pick up the controller. It’s rare that you find a video game where the simple act of moving the character is a joy unto itself. Super Mario has continuously won us over by setting the standard for platforming controls in both his 2D and 3D iterations. Sonic the Hedgehog dared us to see just how fast he could go, bouncing around stages like a pinball. Alucard traversed the haunted halls of Dracula’s castle with a sense of grace worthy of Ayami Kojima’s beautiful illustrations. And Link paved the way for 3D combat with the likes of Ocarina of Time and The Wind Waker.
Thanks to Insomniac Games, Marvel’s Spider-Man now enters these hallowed halls. Although there’s plenty to enjoy about Insomniac’s take on the iconic web-slinger, its single greatest joy is found simply in moving Spider-Man around New York City. From swinging on skyscrapers to running up walls, Marvel’s Spider-Man succeeds in making players feel like they’re the one behind Spider-Man’s mask. It’s that rare kind of game that just feels right. This is how Spider-Man should play.
Insomniac puts their own spin on the Spider-Man mythology. Mercifully ignoring the origin story we all know, this version of Peter Parker has donned the Spider-Man name for eight years, frequently butting heads with the forces of William Fisk (AKA “The Kingpin”), and putting away super villains like the Vulture, Rhino, Shocker, Electro, and Scorpion some time ago. When he’s not fighting crime, Peter works as the assistant to an down-on-his-luck Dr. Otto Octavius (who has yet to become the villainous Doctor Octopus), giving up his job as photographer at the Dailey Bugle (though his lady-friend Mary Jane Watson is now a reporter for that very newspaper). Meanwhile, Norman Osborne has not become the evil Green Goblin, instead having been voted as the (corrupt) mayor of New York City some time ago.
This unique take on the Spider-Man universe gives the game a fresh slate to build on. With Spider-Man being a veteran at his spider-duties, and his two most iconic villains yet to take up their mantles, the story and setting of the game definitely stand out in the franchise.
The game begins with Spider-Man taking the fight to Fisk himself. But after the Kingpin gets put behind bars, a new, more vicious mob begins to overrun New York City, the Demons. That’s a brief summation of the setup, though without spoiling anything, it does get a lot heftier than the simplicity of its setup would suggest. The story is split into three acts, with the final act almost feeling like a full-on sequel to the rest of the game. Overall, it’s probably my favorite Spider-Man story since Spider-Man 2.
Though the story is progressed one mission at a time, various side quests can be found around New York City, which not only give players plenty to do at their own leisure, but also provide numerous means to build up Spider-Man’s abilities. By completing side quests and meeting certain objectives, the player can unlock new gadgets – which give Spidey different web-based moves – and even new spider suits (many of which pay homage to Spidey’s past), with each suit providing its own bonuses and abilities. Spider-Man can also gain experience points and level up (it seems like every game requires RPG elements these days), which allows you to unlock new moves and upgrade the gadgets and abilities you already possess. Thankfully, not only does Spider-Man gain experience by traditional means (combat, completing missions), but doing things as simple as performing stunts during your web-slinging travels will inch you ever closer to the next level.
It’s actually surprising, how deep Spider-Man’s abilities go. With so many different play styles between Spidey’s moves, suits, gadgets and abilities, there’s no shortage of options for those who want to tackle the game their own way. I personally preferred trip mines that lassoed enemies together in webs, and throwing baddies to stick them to walls. But others may prefer explosive webs and the suits’ special weaponry. Or they may just love throwing environmental objects at enemies. There’s all kinds of ways to enjoy the combat of Marvel’s Spider-Man.
Speaking of combat, you will be doing much of it throughout the game. Mechanically, it works a lot like the combat system of the Batman Arkham series, though it flows more fluidly and feels more polished. And as stated, you have a lot more options to work with here, so no matter how many times you get in a scuffle, you can always try out different abilities and combinations to see what you like best. Unfortunately, there is one drawback to a number of combat sections that lives on from the Arkham games, and that’s that many combat sections just drag on and on. Again, the combat is never bad, but there will be numerous occasions when you’ll feel like the waves and waves of enemies feel unnecessary and redundant. It’s not a major issue, but while the sheer joy of swinging across New York City may never lose its luster, you may feel that many of the combat sections overstay their welcome.
The game’s other downside is that many of the side quests will become repetitious after a while. Almost every optional objective is part of a series of similar objectives (conducting research for Harry Osborne while he’s away in Europe, performing quick challenges for the Taskmaster, etc.). In small doses these side endeavors can be entertaining detours in their own right, but for those aiming for either one-hundred percent completion or maximizing Spider-Man’s stats, you may grow weary of doing the same objectives over and over again.
These elements ultimately prove to be minor complaints, however, as the main story is filled with fun twists and turns both in terms of its narrative and in its gameplay. There are even sections where you can play as Mary Jane Watson or Miles Morales which emphasize stealth (given their lack of super powers). Admittedly, the Miles Morales sections lack variety, but the MJ segments find ways to keep building upon themselves in fun ways.
Of course, the biggest appeal of the game is Spider-Man himself. The Arkham titles were previously considered the benchmark for super hero games for the way they made players feel like Batman. But I don’t think even the best entry in that series quite captured the essence of its titular hero the way Marvel’s Spider-Man puts players in the role of Spidey. The combat is fun and always evolving, but it’s the simple act of motion – the speed, the momentum, the physics – that provides the game’s greatest triumph. The game even features one of the most robust photo modes you will find in a game, a totally unnecessary but greatly appreciated feature that really hits the point home of all the crazy scenarios and actions Spidey can find himself in.
The side quests and other character sections aren’t always winners, and sometimes the game may not know when enough waves of mobsters are enough, but they’re small prices to pay for how well Marvel’s Spider-Man realizes its story and characters, and for how exhilarating it is just to travel around New York City as everyone’s friendly neighborhood Spider-Man.
Well, E3 2018 has come and gone. And while I hope to recount my personal experiences at the event soon, let’s wrap up these E3 game-related postings on the days of the show with Marvel’s Spider-Man on Playstation 4.
Now, Spider-Man was at E3 last year, but I never got around to playing it. I feared that would also be the case this year. Because geez, were those lines long! Thankfully, however, on this last day of E3, I managed to wait it out. Sure, it was still a long line, but nothing I wouldn’t see during a usual day at Disneyland.
I’m glad I decided to wait, because Spider-Man is now one of my most anticipated games on the horizon. I admit I was a little skeptical at first. Even though licensed games have deservingly removed much of the stigma that was once associated with them, I wasn’t exactly sure what would make this Spider-Man game stand out from any others.
This may sound incredibly cliched, but Spider-Man on PS4 works because of how much it makes you feel like Spider-Man. From the second I picked up the control and explored New York City, I had a big, stupid grin on my face from pure childlike elation at the ability to climb up/swing from pretty much anything. You could activate markers for different objectives, but I largely ignored them, and for the most part just wanted to explore the city. I spent most of the demo simply making my way to the tallest building I could find, and then proceeding to ascend it.
It’s in how Spider-Man controls that makes it all such a joy. The sheer fluidity in which Spidey can go from swinging on webs to latching onto a wall to running up a building just feels…right. It’s hard to explain, but hopefully when the game is released and more and more people play it, they will get a similar feeling.
I did eventually do some mission objectives, which mainly consisted of beating up bad guys, and here’s where things do get a little worrisome. The combat pretty much made the game feel like Spider-Man: Arkham City. That is to say, it was basically just the combat from the Arkham series, but with a replacement in super hero.
Now, on its own, this isn’t a big problem, because for all intents and purposes, the combat of the Arkham games was fun. However, it would have been nice if the game felt a little more original in this area. This was especially true because – like the Arkham games – these combat sections seemed to drag on and on. Sure, the combat is fun and affective for a while, but it kind of went on to the point that I missed simply running around and goofing off as Spider-Man.
There was, however, a refreshing boss encounter against The Shocker during the demo. I say refreshing for the reasons most people might, like a completely new take on boss fights, but for the exact opposite. The Shocker boss fight was very much a video game boss fight, which in this day and age is becoming something of a lost art, and is always welcome in my book.
That’s not to say that the boss fight was just phoned in from another game or anything, of course. But it flowed like a traditional boss fight (three hits in the first phase, three hits in the second phase, third phase requires you to perform a more cinematic action to finish him off). Much like the exploration, the boss fight felt like experiencing one of Spider-Man’s battles, and wouldn’t have felt out of place in one of the Sam Raimi directed Spider-Man features (or Homecoming. Let’s not bring up those Amazing Spider-Man films though). You avoid Shocker’s attacks until you have an opportunity to strike (via throwing debris at him with webs, of course), in which case you give him a few swift punches. The aforementioned final phase sees you bringing the ceiling down onto Shocker (it’s okay, Spider-Man doesn’t kill him somehow).
The exploration alone had me giddy, but if a fight against a lesser Spidey foe like Shocker provided a good old-fashioned boss fight, imagine a throw down with one of his more memorable baddies? The standard combat is a bit overly familiar, but hopefully the final game adds some nice twists of its own, and learns when to trim things down a bit. Or maybe just make most such situations optional. After all, who cares when Spider-Man catches a bunch of books, right? The option to just head for primary objectives like boss fights might be a good alternative.
Any concerns I may have with the combat don’t come anywhere close to the sheer joy of traversing New York City as Spider-Man, however. The simple joy of swinging around on webs, sticking to windows, and scaling the tallest tower as your friendly neighborhood Spider-Man is nothing short of a joy.
I have to admit I was thoroughly lost during Spider-Man: Homecoming. Throughout the entire movie, I kept wondering how this Peter Parker kid became Spider-Man. I mean, what’s the backstory here? Why does he just have these powers? This is the kind of thing that begs for an origin story.
I am of course joking. Spider-Man’s origin story is such common knowledge that he, like Batman, doesn’t need another cinematic retelling at this point. 2002’s Spider-Man remains one of the best super hero origin story movies (along with, ironically enough, Batman Begins), and there really wasn’t a need for us to hear it again through the less-than stellar 2012 reboot, The Amazing Spider-Man. Besides, super hero films tend to be at their best once the origin story is behind them, with Spider-Man 2 and The Dark Knight remaining at the top of super hero storytelling, as they could focus more on the characters themselves and not have to worry about how their heroes earned their costumes and powers.
Spider-Man: Homecoming wisely does away with re-re-introducing us to Spider-Man’s origin story, with the details of being bitten by a radioactive spider only being mentioned in passing, and the death of his uncle Ben only being implied. So Spider-Man: Homecoming not only serves as another reboot to Marvel’s iconic web-slinger, but also, thankfully, works as something of a self-contained sequel to a narrative we are all beyond familiar with by this point.
This “proper reboot” of the franchise is only one of the newsworthy aspects of this new Spider-Man series, with the other big news being that this newest incarnation is part of the Marvel Cinematic Universe, the most prominent movie franchise not called Star Wars.
We met this newest Peter Parker/Spider-Man (Tom Holland) in 2016’s Captain America: Civil War, where he was part of Iron Man’s team who did battle with that of Captain America. But now we have Spidey’s first solo outing in the MCU, and it actually turns out to be one of the best entries in the mega franchise, due in no small part to the film taking cues from 2004’s Spider-Man 2 by creating fleshed-out, relatable characters in both its hero and villain.
Not only does Homecoming show us Spider-Man still trying to learn the ropes of being a super hero (and often stumbling), but it also dedicates a good deal of time to Peter Parker’s high school life, and the real-world problems and hassles therein.
Meanwhile, the film’s villain is the Vulture, whose secret identity is one Adrian Toomes (Michael Keaton). If the MCU has had one persistent problem – even in some of its better films – it’s that the villains have been largely forgettable, with only a select few standing out, and none of them really being anything more than a villain. What makes Toomes such a winning antagonist (along with Keaton’s excellent performance) is that, much like Peter Parker is depicted as a real kid, Toomes is a very relatable everyman. Tasked with cleaning up the damage that the Avengers leave behind (the film begins with Toomes’ crew beginning reconstruction on one of the set pieces of 2012’s The Avengers), Toomes and his men end up jobless as soon as the government decides to butt in. So Toomes, wanting to provide for his family and to keep his friends doing the same, goes rogue, and leads an underground operation that steals technology left in the wake of the Avengers, SHIELD, Hydra, and any other “super” organization, crafts their own weapons from it, and sells them on the black market.
The fact that Toomes is selling super-weapons to criminals obviously makes him the villain, but he’s also presented as a relatable figure who was wronged and simply wants to set things right. Unlike so many past villains in the MCU, Toomes actually has a strong motivation for his actions.
It’s because of how wonderfully realized both its hero and villain are that ascend Homecoming to being one of the better super hero movies of recent times, though unfortunately, it does suffer a bit from its supporting characters, which can be a bit of a mixed bag.
Peter’s best friend Ned (Jacob Batalon) provides some good comic relief, but some of his actions may not endear him to audiences (the trailers already reveal that he learns of Peter’s secret life as Spider-Man, and he almost outs his best friend’s secret at the first opportunity). Peter’s crush Liz (Laura Harrier) works well enough for the plot, but she doesn’t exactly get a whole lot of character development. They are forgivable though, since their characters have enough likable qualities about them. Less forgivable is the character of Michelle Jones (Zendaya) who, as you may guess by her initials, is to be the MCU’s equivalent of “MJ” Mary-Jane Watson.
Seeing as this is the second cinematic reboot of the Spider-Man franchise, I perfectly understand the filmmakers trying to change up the characters a bit so we can see something we aren’t already overly familiar with. But the Michelle character is simply unlikable. Zendaya’s acting is fine, but what she has to work with doesn’t exactly make Michelle an appealing character. She’s obnoxious, pretentious, brags about not having any friends… She’s basically like a checklist of all the things older generations ridicule millennials for.
But the rest of the characters are all well and fine. This being the MCU, we of course have to have crossover characters involved, though Homecoming is wise to keep them to a minimum as to not take the focus away from the story at hand: Tony Stark/Iron Man (Robert Downey Jr.) returns as Peter’s mentor. Meanwhile, Stark’s former driver and bodyguard Happy Hogan (Jon Favreau) returns to keep an eye on Peter while Iron Man is off with bigger things. And in perhaps some of the best uses of MCU cameos, Captain America (Chris Evans) is featured in public-service announcements in Peter’s high school.
I really enjoyed how Homecoming is a relatively smaller-scale Marvel movie. We’ve seen so many cities get leveled in the Marvel Cinematic Universe by this point, that I’m starting to get more tired of the mass destruction than anything. But Homecoming takes the time to humanize both Spider-Man and the Vulture, while also showing us how complicated the lives of Peter Parker and Adrian Toomes can be. The stakes aren’t to save the planet, or even a city. It’s just about a kid trying to be responsible and to do the right thing, and trying to stop a downtrodden, misguided man who’s caught up in doing wrong. And by this point, that’s pretty refreshing.
Spider-Man: Homecoming doesn’t reinvent the super hero genre, but it does take inspiration from the better films from the genre’s booming early years (most notably Spider-Man 2) to make a film that may not be the most grandiose of super hero outings, but one that succeeds in the two areas where it most counts: story and characters. That’s not to say that it doesn’t have great action set-pieces, because it delivers on just that as well. But for the first time in a while, I feel like the MCU has a hero worth rooting for not just because of a charismatic on-screen presence, but also for his relatability. Just as noteworthy, the same can be said for its villain.