Tag: Zendaya

Spider-Man: No Way Home

Post author By Mark
Post date December 20, 2021

It’s the most wonderful time of the year and no, we’re not talking about Christmas, we’re talking about the new Spider-Man film No Way Home! Quite possibly one of the most hyped films in MCU history, there was a lot riding on Tom Holland’s latest outing as the web-slinger and sufficed to say No Way Home lives up to all these expectations and then some; a more mature chapter in Peter Parker’s story that feels like an appropriate culmination of everything Holland has gone through and a celebration of the character’s rich on-screen history. Despite the all-star lineup of the web-head’s greatest foes, director Jon Watts never lets the story slip away from Peter, telling a quintessentially Spider-Man story that perfectly straddles the line between huge, explosive action and the everyday struggles of the friendly neighbourhood Spider-Man.

Peter Parker’s (Holland) life is in a shambles after Mysterio unceremoniously ousts his identity as Spider-Man to the world at the end of Far From Home, prompting the young Avenger to turn to Doctor Strange (Benedict Cumberbatch) in an effort to erase the world’s knowledge of this fact and restore some semblance of normality to the lives of Peter and those closest to him. When this inevitably goes awry, Strange and Parker unwittingly fracture the multiverse, causing villains from all manner of non-Disney owned, Sony produced Spider-Man films to tumble into the MCU, including Alfred Molina’s Doc Ock, Jamie Foxx’s Electro and Willem Dafoe’s (all-time great) Green Goblin. Now tasked with capturing these intruders before they can wreak havoc on his universe, Spider-Man is forced to contend with the full weight of his actions and the true responsibility of being a hero if he has any hope of saving the world once again.

Reassembling these characters from previous films may seem on its face an obvious case of fan service, but No Way Home consistently finds fresh angles to approach these characters without tarnishing their legacy; natural extensions of previous narratives or chances to redeem an ill-received prior outing rather than simply being well-known punching bags for Spidey to wail on. Jamie Foxx’s Electro for example has far more personality this time around, free from the shackles of his nerdy, awkward persona in The Amazing Spider-Man 2 and now a laid-back, wise-cracking bad-ass; a far more appropriate character for Foxx to play and one that he excels at.

At the other end of the spectrum is Alfred Molina’s Doc Ock, whose story wrapped up perfectly in Spider-Man 2. He certainly didn’t need more screen-time but what we get here is a fantastically fun and fascinating furthering of the character audiences know and love, with Molina hamming it up in the best way possible as the medically grumpy fish-out-of-water scientist turned supervillain. Those big, bombastic action sequences are all well and good but it’s the quieter moments that really justify Doc Ock’s return; a tortured soul desperate for a reprieve from the voices in his head and, like Peter, a return to the somewhat normal.

However it’s Willem Dafoe who cements his place as the greatest on-screen Spidey villain, slipping back into Green Goblin almost 20 years later and making it look completely effortless. On an acting level alone it’s fascinating to watch Dafoe contort his face and switch between the two personalities at war within Norman Osborn’s head on a dime; his voice dropping to a menacing growl as a sneer spreads across his face. But it’s the energy of pure, chaotic evil that he brings to the MCU that makes him Holland’s fiercest foe to date, wanting nothing more than to make Spider-Man suffer and relishing every second of pain he puts him through. Screenwriters Erik Sommers and Chris McKenna do a great job ensuring they aren’t just trading on audience goodwill, building on the foundation of Norman’s lust for power established in 2002’s Spider-Man and taking it to the logical next step as he covets an entirely new universe to subject to his will.

In a film this crowded it might be easy for Holland’s Spider-Man to play second fiddle but – despite all the colossal world expansion and inevitable sequel set-up – No Way Home very much feels like the next chapter of Peter Parker’s story. With that comes an almost perfect balance between the small-scale problems that define a good Spider-Man story – girl troubles, college admissions and otherwise balancing the mundane with the extraordinary – alongside the huge, multiverse-ending stakes. This is still a young boy coming to terms with his responsibilities as a hero and the stakes of not committing fully to either of the lives he is attempting to live have never been felt more than they are here. Cumberbatch is an excellent and intriguing choice to shepherd Peter into that next phase of his journey, not as paternal as Iron Man and certainly not as nefarious as Mysterio, Doctor Strange doesn’t shy away from delivering hard truths, a necessary push that makes for some incredibly satisfying moments when the going gets tough.

No matter how crazy the plot may get we are always locked into Peter and how he approaches this latest challenge, particularly how it affects those close to him and his sweet relationship with MJ (Zendaya), who finally comes into her own as a central protagonist rather than a quirky side-character. This being an MCU film, things never get too dour (perhaps to some viewers chagrin) and the jokes fly thick and fast, with Jacob Batalon’s Ned stealing every scene he is in with absolutely pitch perfect comedic timing, never failing to have the audience guffawing at even the most juvenile of jokes. But this is Holland’s film and it is the best he has ever been in the role, due in large part to the amount of emotionally heavy material thrown at him in the script; we feel the desperation in Peter’s actions and the weight of what he must do to correct the mistakes he has made. No spoilers here but it warrants mentioning that – following a third act that ranks up there with Avengers: Endgame in terms of sheer wish-fulfilment awesomeness – the ending is one of the most cathartic, triumphant conclusions in all of the MCU; a perfect jumping off point should they (most probably) continue to further Spider-Man’s story but also an incredibly satisfying conclusion should this truly be the end, something neither of the other actors who have played the wall crawler can claim to have had.

Spider-Man: No Way Home is easily the best of Jon Watt’s trilogy and perhaps more impressively one of, if not the best Spider-Man film ever. The culmination of Peter Parker’s story as a young, inexperienced web-slinger is a rollicking rollercoaster of fun and action sure, but one that manages to pack big stakes and crushing emotional weight onto Holland’s shoulders that he handles beautifully. The returning villains are all an absolute blast to spend time with again, the surprises we can’t spoil will have audiences in a fervour and the supporting players are all genuinely excellent in the way they impact Peter’s journey from boy to Spider-Man. Don’t let the title fool you, with this film Tom Holland proves definitively that he is absolutely at home as the friendly neighbourhood Spider-Man.

Spider-Man: No Way Home stars Tom Holland, Zendaya, Benedict Cumberbatch, Jamie Foxx, Willem Dafoe, Alfred Molina, Marisa Tomei, Jacob Batalon, J.K. Simmons, Jon Favreau, Tony Revolori & Benedict Wong – In cinemas now.

10/10

Tags Alfred Molina, Benedict Cumberbatch, Benedict Wong, J.K. Simmons, Jacob Batalon, Jamie Foxx, Jon Favreau, Jon Watts, Marisa Tomei, Marvel, Spider-Man: No Way Home, Tom Holland, Willem Dafoe, Zendaya

Movie Reviews

Dune (2021)

Post author By Mark
Post date December 7, 2021

Not since his last film Blade Runner 2049 has there been sci-fi with such massive scope as Denis Villeneuve’s adaptation of Frank Herbert’s seminal novel Dune. Truly epic in all aspects, the story of the planet Arrakis and the war between ancient houses for control of it is brought to life in stunning detail; a complex, layered story of political betrayal anchored by the classic hero’s journey of Timothée Chalamet’s Paul. A personal favourite of Villeneuve’s, you can feel his love for the material in every scene; making for one of the most engrossing, fully realised (except for the fact that this is only part one) stories in recent cinematic memory. Huge sci-fi that delivers huge results.

That isn’t to say Dune is immediately graspable. A behemoth in the sci-fi world, Herbert’s novels span six books and countless follow-up tales released since his death. Villeneuve’s film only seeks to tackle the very first of these, and only even a portion of that story, yet there is still plenty to unpack to justify the film’s immense runtime. On a high level the story centres around Paul (Chalamet), son of Leto (Oscar Isaac) and Jessica (Rebecca Ferguson) and heir to the great house Atreides. When the all-powerful Emperor (unseen in this film) calls for the Atreides’ to take control of the planet Arrakis – home to the Spice, the only substance able to sustain intergalactic travel – from rival house Harkonnen, events are set in motion that will test Paul and his people’s resolve as they are thrust into a complex web of political intrigue. As his situation becomes increasingly dire, Paul is forced to contemplate his destiny and the strange dreams he has experienced which push him to explore his place amongst the Fremen, the native people of Arrakis.

It’s a weighty story and Villeneuve takes his time unravelling it for the viewer, carefully setting the stage and characters before pivoting into the meat of the journey on Arrakis. Unlike a lot of larger scale blockbusters nowadays Dune never feels overly hand holding; constantly presenting new ideas, characters and places and expecting the audience to keep up. In that way it may not be accessible to everyone; the film demands your attention, but the end result is nothing short of spellbinding and it is impossible to not get swept up in Villeneuve’s always visually interesting approach to this tale. Key to that immersion is the sense of scale that he creates, often framing shots from far back to highlight just how insignificant characters look compared to starships or the fearsome sandworms that call Arrakis home. It’s a device that constantly creates jaw-dropping imagery whilst furthering the narrative and this attention to detail extends to everything from the aesthetics – each world is visually distinct from one another – to something as simple as the shields used in combat – vivid blue and red flashes easily conveying the outcomes of battles without having to sacrifice the scale of a wide shot.

The costumes and production designs are similarly stunning; a striking mixture of futuristic garb resembling armour and more traditional military inspired wardrobe. The evil Harkonnen Baron, played by Stellan Skarsgård, is a truly inspired combination of practical and visual effects; a hulking, obese lump of pale flesh who practically oozes evil before morphing into a towering, floating pillar of black cloak when provoked. Why is he like this? The film never offers any elucidation and that really is the defining strength of Dune: pulling you into entire galaxy of story without feeling the need to explain every bit of it. If you look hard enough, you can constantly uncover new layers but if you aren’t interested in that the story still works as a thrilling slice of sci-fi action; even if this film errs on the side of set-up.

Which is really is the only negative to be found here: the set-up. As only part one of the story – a ballsy move naming it so considering the sequel had yet to be greenlit on release – the film simply feels incomplete; the beginning of something much larger to come. Whilst that may be somewhat unsatisfying for today’s audience accustomed to instant gratification from Netflix binge sessions, there is enough here to warrant repeat viewings to unpack it all, from Christ allegories to deep themes of legacy and destiny. And let’s not forget the impossible task set upon Villeneuve in the first place; Dune is a positively massive story spanning thousands of years in its full, franchise-long scope. The fact that he has managed to capture the essence of the story (we haven’t even mentioned the more fantastical elements such as the witch-like Bene Gesserit) and turn it into such a rousing success as this proves the man is one of the best filmmakers working today. He has earned the right to take his time.

I’d be remiss not to mention the incredible score from Hans Zimmer; similarly epic in scope, it fluctuates between booming bass and bombastic choral pieces that further emphasise the different cultures and perspectives at play within Dune. To ensure that the film remains grounded in the characters that populate its many worlds Villeneuve has enlisted a smorgasbord of acting talent, led by Chalamet. He’s a suitably arrogant Paul, a trait borne of his nobility that doesn’t necessarily make him an unlikeable character but rather speaks to the shift he undergoes as the life he knows is drastically altered. A litany of terrific supporting players surround him, from Sharon Duncan-Brewster’s allegedly impartial judge overseeing the shift in Arrakis’ leadership to Josh Brolin’s steely military chief; a disgruntled warrior who has clearly been affected by his bloody past. Yet it is Jason Momoa who stands out amongst them, delivering his best performance yet as the heroic soldier Duncan Idaho, a personal friend to Paul and advisor to the Duke. What he lacks in his iconic beard he more than makes up for in heart and likeability, a shot of personality amongst the cold expanse of space and political strictness.

Dune is a film that has to accomplish a lot: adapting Frank Herbert’s dense text in a palatable way, making an entire galaxy come alive with personality and nuance, and most of all create an engaging, cinematic story. And Denis Villeneuve accomplishes it all in such a complete way that this really feels like the starting chapter in a new classic science fiction franchise, up there with the likes of Star Wars and Alien. Full of vibrant visuals, a luscious score from Hans Zimmer and production designs that totally immerse you in the experience, Dune is a truly unique film that is best experienced on the biggest screen you can find. If you haven’t sought it out already, what are you Dune?

Dune stars Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgård, Josh Brolin, Sharon Duncan-Brewster, Stephen McKinley Henderson, Dave Bautista, Charlotte Rampling, David Dastmalchian, Chang Chen & Javier Bardem – In cinemas now.

9/10

Tags Charlotte Rampling, Dave Bautista, Denis Villeneuve, Dune, Jason Momoa, Javier Bardem, Josh Brolin, Oscar Isaac, Rebecca Ferguson, Sharon Duncan-Brewster, Stellan Skarsgård, Timothée Chalamet, Zendaya

Movie Reviews

Malcolm & Marie

Post author By Mark
Post date February 3, 2021

Forget Godzilla vs. Kong, the biggest cinematic showdown of the year may also be the most unexpected, in the form of Sam Levinson’s fiercely compelling relationship drama: Malcolm & Marie. Don’t be fooled by the unsuspecting title however, these two could not be further from the same side, engaged in a fierce mental and emotional war of words after a (some might say) seemingly inconsequential mistake opens the doors for a couple’s skeletons to come crashing out of the closet in spectacular fashion. With only two actors to rely for the entire film – the brilliant pairing of Zendaya and John David Washington – Levinson wrings every last drop of tension and emotional devastation out of the affair in a beautifully shot, wonderfully written and masterfully acted piece of cinema.

On the self-proclaimed “biggest night of his life” writer/director Malcolm (Washington) returns home with his girlfriend Marie (Zendaya) to the palatial house rented for them by the studio after the premiere of his latest film, a sweeping opus centred around a young girl cleaning up her drug-riddled life. While Malcolm celebrates in one of several incredible tracking shots that follow him throughout the house – easily the nicest since Parasite and practically a third character in the film by the end – we are aware of a palpable tension in the air, a feeling that something unsaid is lingering between the couple. As Marie silently prepares dinner Malcolm too becomes aware of this energy, earnestly enquiring about Marie’s mood before demanding she tell him why she is upset, the first of many instances where he thoroughly puts his foot in it. What follows is 90 minutes of two people completely let off the chain, each intent on “winning” the argument and going to increasingly underhanded and personal levels to get their point across and come out the victor – if either is left standing that is.

While the thought of watching two people fight may sound like something of a drag, Levinson infuses his script with enough moments of levity to pull you out of the depths of anger and heartbreak before they swallow you. Washington, in particular, shows some serious comedic chops here with scathing yet perfectly timed jabs in the middle of a heated fight and one seriously impressive rant about the very concept of film criticism and reviews (to even write this is a terrifying prospect after hearing Malcolm’s eviscerating speech). A hilarious recurring joke between the pair about a writer for the LA times and her views on Malcolm’s movie is undoubtedly the highlight, making you momentarily forget that these two were at each others throats not moments ago, and are now united in their hilarious derision of this outsider. This B-story of Malcolm’s wild responses to the surge of releasing reviews also serves to give the audience a moment to pause and breathe before the ware resumes, and whilst it is written spectacularly and delivered flawlessly by Washington, the dialogue is just a little too deep cut at times, feeling more like Levinson showing off his knowledge of film history rather than making a concise point about the craft.

Where Levinson’s message is at its most potent is in the arguments that make up the bulk of the runtime. This is far from your traditional rom-com where love wins out in the end after a few spots of trouble, but instead the unravelling of a five year relationship where everything bubbling under the surface finally spills over in spectacular fashion. Metaphorical knives are wedged in backs and verbal slaps in the face are frequent as Malcolm and Marie go to increasingly low levels, referencing ex-lovers and completely shattering one another’s self-confidence. It’s not all destructive though, in their own especially dark ways the couple are trying to be constructive with each other, pointing out flaws that you can tell have shattered illusions and altered the other person’s perception of themselves forever. It’s fascinating to watch these two people evolve and change over the course of the night – a series of conversations is rarely this captivating (save for The Social Network) – and you will be as emotionally exhausted as Zendaya and Washington appear at the end of it all.

Anyone who doubted the comparisons to his famous father after Blackkklansman will be silenced here by John David Washington’s fierce performance, channelling an aggression and physicality that is impossible to tear your eyes away from, filling the screen with his presence as he parades around the room spouting monologues to thrilling effect. In those quieter moments, he is no less engaging, often conveying the entire emotional spectrums in scenes through facial expressions alone. Not to be outdone, Zendaya continues her winning streak following her Emmy win for Euphoria, sharing a few similarities with her character Rue and delivering that same brand of subdued yet somehow manic energy, with a heart-breaking performance that will shatter audiences and likely prime her for a run at an Oscar. During one of Malcolm’s more callous attacks, the camera holds on Marie sitting in a bathtub clutching her knees, holding on her face for an almost uncomfortable amount of time, as you slowly watch her poker face of indifference fracture after each barb, revealing the vulnerable, hurt woman underneath. It marks a shift in the film as well as the couple’s relationship, prompting a kamikaze onslaught from Zendaya in the second half of the film that sucks the oxygen out of the room with tension as she unleashes all of her gripes from the relationship, risking everything now in an attempt to get Malcolm to simply understand her.

Making the whole film more impressive is the fact that it was conceived, written and filmed entirely during the COVID pandemic with a minimal crew, a feat that I’d wager puts most pandemic-prompted hobbies to shame. A rich black and white colour palette goes beyond the gimmick, adding another level of beauty and classiness to Malcom & Marie’s surroundings while also acting as a physical metaphor for the nature of their arguments: seen by the two of them as needing to define a clear winner and loser when in actuality the whole affair is a mix of different shades of grey. Smooth camera work all around and a killer score from Euphoria collaborator Labrinth combine with the monotone colouring to give the film a timeless and classy presence – a story told through a modern relationship, but which carries universal themes of trust and commitment that would be as hard-hitting and relevant in the 20th century as they are now.

Malcolm & Marie is the first truly great film of 2021. The fact that Sam Levinson is able to stretch such tension and genuine intrigue out of such a simple premise is nothing short of incredible. Drawing you in with a familiar scenario and twisting the situation on its head completely, he creates an edge of your seat thrill ride of domestic chaos; fast and furious word slinging at its most potent and acerbic. John David Washington and Zendaya add another notch to their already impressive belts with two pitch-perfect performances, bouncing off each other with a rhythm and chemistry that hopefully paves the way for many more collaborations between the pair. With Valentine’s Day fast approaching this probably shouldn’t be your go-to film to get sparks flying – but that’s ok, you still have another 27 days in the month to treat yourself to this fiery anti-romance.

Malcolm & Marie stars Zendaya & John David Washington – Streaming on Netflix from February 5th.

Tags John David Washington, Malcolm & Marie, Sam Levinson, Zendaya

Movie Reviews

Spider-Man: Far From Home

Post author By Mark
Post date July 2, 2019

Tom Holland’s Spider-Man has come a long way. From the first time he swung into frame in Captain America: Civil War to say “Hey everyone”, audiences knew there was something special about his interpretation of the character. Holland has continued to prove himself as the best actor to pull on the red and blue tights, nailing Peter Parker’s internal conflict that comes from balancing crime fighting and schoolwork, and the character’s development through his solo film and the previous two Avengers films has been one of the strongest points of the MCU. With Spider-Man: Far From Home,returning director Jon Watts is able to craft a solid, imperfect conclusion to this Spider-Man arc which nails the character of Peter Parker and the acrobatic action he brings to the table, but also gets bogged down at times by some odd character choices and pacing issues. Just in case you’ve been living under a rock and are one of the three people who haven’t made it out to see Avengers: Endgame, a warning: spoilers lie ahead.

Peter Parker has been having a rough go of it lately. After being dusted and effectively wiped from existence in Avengers: Infinity War and revived five years later, the youngster is having a tough time readjusting to life post “Blip” – the name given to Thanos’ snap. A relaxing summer European vacation with his classmates is the perfect opportunity to hang up the spider-suit for a while and spend some quality time with his crush MJ (Zendaya). Peter, and the world at large, is struggling with the recent death of Iron Man and the fracturing of the Avengers as a result. A great amount of pressure has been placed on Spider-Man as Iron Man’s replacement, a problem which is only exacerbated when Nick Fury (Samuel L. Jackson) highjacks Peter’s school trip in order to help Quentin Beck (Jake Gyllenhaal), also known as Mysterio, defeat a new world-ending threat – Elementals: physical embodiments of earth, wind, fire and water who destroy everything in their path. Peter soon finds his priorities divided between living a normal life with his friends and getting the girl and rising to the challenge to help Fury and Beck, taking Tony Stark’s place in the process. After the earth-shattering events of Endgame, the story here feels comparatively smaller, a more intimate film that is less about world-ending catastrophes than it is about exploring the psyche of Peter. It takes a little time to get used to the smaller stakes here but, much like last year’s Ant-Man and the Wasp, it is refreshing antidote to Endgame and a nice way to close out phase three of the MCU.

The strongest aspect of Far From Home is how it handles Peter’s personal struggles following the death of Iron Man. Not only has he lost a true friend and mentor, but he’s also lost his way in terms of being a superhero, opting to step away from the limelight and just be a kid for a change. The film really zeroes in on the responsibility placed on Peter and how he handles it; he is presented with challenge after challenge – making some missteps along the way – on his way to deciding where his future lies. Some of these missteps, which I won’t get into to avoid spoilers, are handled better than others, with a few moments leaving audiences scratching their heads as to why on earth Peter made that specific choice. Sure, you could chalk it up to him being a teenager, but doing so robs Spider-Man of the intelligence that is inherent to the character. With Iron Man’s death Peter is subconsciously searching for another mentor to put his trust in and to guide him with his choices. Enter Jake Gyllenhaal’s Mysterio, who Peter develops a bond with as they fight the Elementals together. Holland and Gyllenhaal have great chemistry together, clearly influenced by their real life friendship, and watching the characters develop their bond is one of the highlights of the film. Gyllenhall plays the role of Quentin Beck with a confidence and bravado that attracts Peter, qualities that make him a surrogate in Peter’s eyes for the late Tony Stark. It’s an interesting plot thread to pull on; watching Peter doubt himself and desperately search for guidance when Tony believed he was the one to carry the torch going forward.

In addition to exploring Peter’s internal mental struggles, the film also mixes in a healthy dose of romance with the burgeoning relationship between Parker and MJ. It’s a fun plotline which helps to emphasise the kind of normal life that Peter longs for, a life that is constantly hindered and kept out of his grasp by his responsibilities as Spider-Man. MJ is given a much more fleshed out role this time around and Zendaya revels in playing the odd, socially awkward teenager. The random truth bombs and scathing retorts she fires off are always hilarious and she is by far the best of the younger cast in the film outside of Holland, who also dials up the social awkwardness in his exchanges with MJ. It’s almost too hard to not turn away and cringe at some of the dialogue and it really works to make the characters feel like kids finding their way to expressing their feelings for one another. This rom-com storyline adds a fresh layer to the average Spider-Man adventure, with past films often playing the romance much more seriously, highlighting the depressing aspects of Peter pining for MJ’s affections. Far From Home is first and foremost fun, and it goes a long way in investing you in the characters and their predicaments.

When Homecoming was first released people were excited for the first time to actually explore Peter Parker’s adventures in high school. The Maguire and Garfield Spider-Man films were also set in high-school but they never really took advantage of the setting or the simple but engaging premise of balancing school and hero fighting. (Add to that the fact that both Maguire and Garfield both looked like they hadn’t stepped foot in a school in twenty years). Homecoming was the first Spider-Man film to really live in that school environment and as such, brought a host of other teenagers in to occupy Peter’s world, including best friend Ned (Jacob Batalon), bully Flash Thompson (Tony Revolori), and classmate Betty Brant (Anjourie Rice). They all worked wonderfully in Homecoming where the stakes were comparably lower and at a more “friendly neighbourhood” level, but in Far From Home these characters become too much at times. They’re all played wonderfully and it’s understandable wanting to bring them back after how well they were received before but it almost always slows the pace of the film when we cut away from Peter’s adventures to check in with them. The film works best focusing on Peter and if these characters are taking away from his screentime and distract from the main plot then it might be time to jettison a few. That being said, I could watch an entire film of Martin Starr’s character Mr. Harrington struggle through literally every situation he is put in, with a can-do attitude and no luck in life whatsoever, he is hilarious and steals almost every scene he is in.

Spider-Man: Far From Home is a film which, like Peter Parker, has an enormous responsibility on its shoulders as the first MCU film to follow Avengers: Endgame. It largely lives up to the task, providing a fun, engaging Spider-Man story that explores one of the character’s oldest struggles: deciding whether to live a normal life or make the sacrifices necessary to be Spider-Man. While there are some pacing issues and questionable character decisions, it never detracts from your investment in the key characters, anchored by an always stellar performance from Tom Holland. Between this, the recent PS4 game and last year’s Spider-Man: Into the Spider-Verse we really are living in the golden age for the web-slinger. Here’s hoping we stay on the upswing for a little while longer.

Spider-Man: Far From Home stars Tom Holland, Zendaya, Samuel L. Jackson, Marisa Tomei, Cobie Smulders, Jon Favreau, Jacob Batalon, Tony Revolori & Jake Gyllenhaal – in cinemas now.

Tags Jacob Batalon, Jake Gyllenhaal, Jon Watts, Marisa Tomei, Marvel, Samuel L. Jackson, Spider-Man, Spider-Man: Far From Home, Tom Holland, Zendaya