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In Far From Home, not only do we finally have a Peter Parker / MJ romance that actually feels like a high school relationship, but Zendaya’s take on the iconic comic book character is one of the sadly few fully realized women in the MCU. Holland and Zendaya, who's playing the MCU's version of Mary Jane (or in this film, simply MJ), make for a natural yet unexpected pairing that will undoubtedly become the backbone of this stellar franchise-within-a-franchise for years to come.
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After two Spider-Man franchises full of adult men on the cusp of 30 pretending to be little boys, 23 year-old Tom Holland continues to feel like one of Kevin Feige’s greatest casting choices. Parker is every bit as self-sabotaging, selfish, and vulnerable as a high school superhero should be–even going so far as to brush off his superhero duties at the drop of a dime for a potential hookup with his crush. Watts’ main area of concern in Far From Home is the oh-so-familiar teen angst of Spider-Man.
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Since the film is free from the sagging weight of all the endlessly complicated Avengers bullshit, we finally have the first MCU movie since Black Panther and Thor: Ragnarok that feels legitimately singular, and inspired. In a time when every superhero movie is jammed to the fucking brim with strong-jawed megastars, this shift toward a younger, more diverse, less well-known cast feels like a sigh of relief. But Far From Home feels about as close as we’re ever going to get.Ĭontrary to Endgame’s thoroughly dour, mature approach to superheroes, Far From Home is centered around a group of lively and idiotic high school students. But director Jon Watts’ willingness to forgo the hero worship bullshit and finally acknowledge these films for what they really are–big budget Saturday morning cartoons–felt damn-well uproarious. And, sure, after the bottomless profits, nothing Marvel does is really a “risk” anymore. The sequence goes on to show shitty powerpoint presentation from the high school morning news of the heroes we’d lost in Endgame, complete with Whitney Houston's “I Will Always Love You.” Right off the bat, this tonal shift from the self-serious desperation of Endgame was so insane that I felt like I was watching some sort of in-joke edit made just for the critics screening I was attending. After a quick prologue, Far From Home opens with a Comic Sans title card that says “in memoriam” in chunky stupid letters. But, at the start of Far From Home, that feeling is more like a good riddance. There's a feeling that the MCU had come full circle along with the grief and finality of that movie. In the final moments of Avengers: Endgame, the heroes gather around Tony Stark's burial grounds. Ranveer Singh's 'roar' is identical to that of Ajay Devgn's in Singham.Avengers: Endgame Is Proof That Nothing Matters On the flip side, please note, the build up of the romance could've been better the sale of guns in a mandi (market place) is implausible Ishaqzaade that had a similar plot was less ostentatious but more authentic the pathos in the relationships was missing and the last shot where Ram and Leela fall in slow-motion into the water, on straight backs, is contrived. You have to also applaud Richa Chadda and Supriya Pathak Kapur for being the talent they are. Ranveer displays his six packs and histrionics with fair ease. Vintage palaces and daunting deserts are fitted in with precision. Since the plot is Shakespearan, the maker has the arduous task of telling you this story on an opulent scale. Unabashedly, the filmmaker uses his lead pair’s real and reel chemistry, fuses it with sexual tension and asks you to partake in their love-hate relationship.įor the most part, Ram-Leela, SLB’s most commercial work till date, has nice doses of raunch and ras (juice). In between this war-fare Deepika and Ranveer touch, feel, kiss and cuddle and ensure you can feel their stirring. So bullets fly, blood flows and bahus become victims of evil design.