#I have never seen a picture of Tom out of costume and been emotionally or sexually attracted to him

[aion-rsa]

Why Tom Holland Was Terrified of Playing a Bank Robber in Cherry

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All of a sudden Tom Holland is everywhere. He’s got two movies out right now–the sci-fi thriller Chaos Walking and the drug/crime drama Cherry–and the latter is making its premiere on Apple TV+ this weekend after a limited run in theaters. He also recently wrapped production on the long-developing adaptation of the Uncharted video game franchise, and he’s currently working with director Jon Watts again on their third standalone Spider-Man adventure together, Spider-Man: No Way Home.

In Cherry, based on the best-selling semi-autobiographical novel by Nico Walker, Holland stars as the title character, a young Cleveland man who joins the Army after his girlfriend (Ciara Bravo) announces she is going away to college. He returns home from Iraq with PTSD, develops an opioid addiction, and eventually turns to bank robbery to support his habit.

The often harrowing film is directed by Anthony and Joe Russo, making it the first motion picture directed by the Cleveland-born brothers since 2019’s Avengers: Endgame. Cherry marks Holland’s fourth collaboration with the Russos, following Endgame, Captain America: Civil War (2016), and Avengers: Infinity War (2018), but his first time working with them without a superhero costume.

Cherry is also one of two recent movies, the other being last year’s grim The Devil All The Time, in which the British actor steps away from his generally sunny, innocent demeanor to take on a darker, more tormented character. We touched on that, working with the Russos, researching the world of addiction, and more–including little nuggets on No Way Home and Uncharted–when we hopped on Zoom recently with the young Mr. Holland.

Den of Geek: What did you respond to in the character of Cherry, as well as the script? What was your emotional and visceral response to his story?

Tom Holland: I think my initial response was that I was terrified of the idea of playing this character. It’s the type of role I’ve definitely never done before, and I was a little sort of apprehensive and questioned whether I could do it. Knowing that the Russo brothers were going to be there to support me through the job is what kind of tipped me over the edge into saying yes. But my initial response was, “I don’t think I’m the right person for this job because I don’t know if I can do that.”

You probably had a level of trust established with the Russos from working on the three Marvel pictures you did together. Did that make you feel comfortable right away?

Yeah. Absolutely. Still, I had that element of awe when it came to the Russos because they were the directors of the Avengers films, and I was still very much the new kid on the block when I was making those films. It was really nice for me to get to know them both on a more personal level and, obviously, that level of trust grew as the film progressed. It grew and it grew and it grew, and it’s now to the point where Joe and Anthony could ring me up, and I would be on set for them in a heartbeat. The trust between the three of us definitely grew.

How is their style of directing different on this? Was there more of a personal rapport because of the fact that they’re not dealing with the same kind of visual effects as in the Marvel movies or servicing 50 different characters?

I felt a little spoiled to be honest, because I was getting their utmost attention. But I mean, their direction style didn’t change in the way that they spoke to people, in the way that they addressed people, in the way that they treated people on set. But the style in which they would use the camera or the way they would get you to portray or work in a certain scene is very different because, obviously, it’s a very different type of film.

But from a logistical standpoint of how they made the film, they were basically the same two guys, just having fun. It’s nice to see two people who are so in love with cinema just having a good old play and figuring it out as they go along.

Was it interesting and maybe refreshing for you to do a film where you’re not in the Spider-Man suit for so much of the movie, and you’re not acting against a green screen?

Absolutely. Working on green screen and blue screens and wearing a spandex Spider-Man suit is amazing, and it’s awesome and I love it, but there’s something freeing about everything on set is what is in the shot, what is in the story. I don’t have to imagine anything, because everything is a tangible asset and is right there in front of me. It’s a different process, and I love both equally. But it was nice to kind of have a change of pace and dive into something a little bit smaller.

How was it working with Ciara on her first feature film? Was it easy to establish the rapport with her?

We were so lucky with Ciara. I remember when I watched her audition tape, when the boys had cast her, and they sent it to me just to say, “By the way, this is the girl who’s going to play Emily,” for the first time in my career, I was so intimidated. She just has this gravitas that she brought to the character in her take that was so amazing.

I was really excited to work with her and I was really happy when I found out that her and I were very similar and had a lot in common. We became very, very good friends, which was so valuable for us, because this film was such a difficult film to make, physically and emotionally. The fact that we got along so well meant that we could help each other through the process. She was like my emotional support person, and I was hers, and it was great. We were a little team.

Do you take a role like this, or something like The Devil All the Time, knowing that these are going to not just challenge you as an actor, but show a whole different side of you to an audience that maybe only knows you as Spider-Man?

I love playing Spider-Man, and I think it comes with its own set of challenges. I think sometimes people overlook that superhero films do require performance, a character arc, building up a backstory, an objective of where you want to go. It’s just these films are very different. They’re very different in style, but they’re not very different in the way that you make them. The process of making a film is pretty similar. They just spend less money, and it’s less blue screen. But, yeah. I enjoyed the sort of creative freedom of making a film a little bit darker.

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Did you get to meet and talk with Nico Walker? I know you did meet with some people with addiction problems, as well as some veterans.

I’ve never actually met with Nico. We were supposed to meet a few weeks ago, but for some reason, our schedules kind of got a bit jumbled up, and we couldn’t get together. But I hope to meet him. He’s obviously the one person that I’m really nervous about watching the film, because we took a portion of his life, and we turned it into this piece of art, and I hope it’s something that he likes.

But we did loads of research when it came to speaking to veterans and people suffering from PTSD and substance abuse, and it was so valuable in the making of this film, because I couldn’t have made this an authentic experience for the audience without having that information from those people. I’m very grateful that the men and women I spoke to were very open to talk about the things that they’d been through, which were sometimes very harrowing.

What did you learn that maybe you hadn’t known before and were able to apply to the part?

Wow. I could go on and on. I think one of the biggest things for me that helped drive a lot of the motivation in the scene was that once you’re hooked on heroin, all you can think about is getting more heroin. It was a really good kind of catalyst to tell these stories authentically. I think that was one of the most valuable things I took away from my research.

What was the most physically challenging aspect of the shoot?

The most physically demanding portion of the film was dope life, when I was losing all the weight, and I was skinny, and I was having to starve myself. And robbing the banks was tiring, because I was so weak from being so skinny and frail, I guess. So that would easily be the more physically demanding aspect of the film.

Apple TV+

You also play this character as he ages over 15 years. Is it fair to say this is the first time you’ve actually played a character who’s aged over that kind of span of time?

Absolutely. On The Lost City of Z, a James Gray film I did, there was quite a large progression in age, but I was no way the lead of that film. A lot of my stuff sort of happened off camera. Obviously in Cherry, you are with this character from the beginning to the end. That meant that I had to do a lot of the growing on screen, and it was difficult. It was tricky, because trying to play older, to me, felt very fake. That’s where I was so lucky to have my amazing makeup artist, Rachael Speke. She did a wonderful job of aging me up throughout the course of the film.

It was difficult, and I just had to trust the Russos and that they knew what they wanted and they were happy with what they were getting. But it wasn’t the easiest thing in the world to do.

Is that something that you would like to apply to other characters? As you continue to play Spider-Man, would you like to see him age a little more noticeably, if it’s appropriate?

Yeah. Peter Parker is a character that everyone knows and loves. It would be really interesting to sort of find a side to him that people haven’t seen before. Whether or not we do that, I don’t know.

What can you say about Spider-Man: No Way Home in terms of how it expands the MCU and how it evolves Peter’s character?

Well, there’s not really much I can say, obviously. What I can say is that I’m having the time of my life making it. It’s so fun being back with Jacob [Batalon] and Zendaya, and [director] Jon Watts. The film is incredibly ambitious, and I’m delighted to say that we’re succeeding in making it. It’s going really well. We watched a fight scene that we had shot a few weeks ago, and I’ve never seen a fight scene quite like it in the MCU. I’m really excited for audiences to see that.

You also just recently wrapped Uncharted. What do you think people will see in that if they’re not fans of the video game?

Well, an interesting idea and one that I really think lends itself to our film, is that when you watch a video game film–if you’re a fan of the games–I often wonder, “Why would you watch the film?” Because it’s less immersive. You can go and be that character. Why would I just want to watch that character?

But what we’ve got is we’re telling the prequel story of how the character, Nathan Drake, became this worldwide known character. For the fans that love the games, they’re getting an aspect of the story that they’ve never seen before. And the people that haven’t played the games are getting a really nice introduction to a character. It kind of works for everyone.

It’s a really fun film, and the action is amazing, easily some of the coolest action I’ve done so far. I had a lovely chat with Tom Rothman, the chairman of Sony, he saw the film, and he’s over the moon with it. If the boss man is happy, then everyone is happy. We’re really good.

Cherry premieres on Apple TV+ on Friday, March 12.

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[allthefilmsiveseenforfree]

Sonic the Hedgehog

I never played Super Mario Bros. until I was in college - we were a Sega household or we were nothing. While my friends were busy rescuing Princess Peach and throwing barrels as Donkey Kong (is that how that game works? I have no idea), I was zipping along collecting rings and fighting a mad...robot...doctor? Not really sure what Dr. Robotnik’s whole deal was, but the point is I was a Sonic girl through and through. In spite of feeling a little silly, that means I was genuinely excited about the movie adaptation, which is frankly ridiculous as video game movies couldn’t be less of a cursed movie genre. Even amongst horrifying character redesigns (why the TEETH??) I kept my optimism intact. 

I loved Sonic so much as a child that, as an adult 20 years later, I adopted a pet hedgehog named Hamish. Those of you who know me well have probably met Hamish or have seen his pictures on the internet in his annual Halloween costumes (tiny hats are key). He was most people’s first hedgehog friend in real life, and I delighted in learning as much about hedgehogs as I could so that I could teach people fun hedgehog facts. Despite normally living 1-3 years in the wild and 2-4 years in captivity, Hamish kept right on trucking, running miles and miles every night in his wheel and eating dried grubs out of my hand as a treat for almost 7 years. He got sick a couple weeks ago - stopped eating and drinking, and when I took him to the vet he got some meds and supplies for syringe feeding and it seemed like he might be able to recover. It had been a really stressful few days, and I was constantly worried about Hamish, so I wanted a little bit of escapism - a fun, probably forgettable family movie sounded perfect. And after I got back from seeing Sonic the Hedgehog, I gave Hamish his medicine and food and held him in my hand for the last time. He passed away that night while I was asleep. I’m not usually the type to ascribe significance to coincidences like that, but it felt like there was a reason I saw this movie on the day I did. Was my faith misplaced? Was this a mere trifle or a fitting tribute to Hamish’s memory? Well...

I think the things that I loved about the movie are many of the same things that I loved about Hamish - a playfulness, a sense of humor, and in spite of a silly-looking exterior, a beating heart full of affection and comfort. I was all primed for disappointment - I had high expectations, the studio went through that costly redesign, and I was already in a pretty emotionally tangled up place. Not the best circumstances going in, which makes it all the more impressive that Sonic is one of my favorite films I’ve seen this year by far. 

The basic plot is simple - Sonic (voiced by Ben Schwartz) is an alien who had to leave his home planet in a hurry, and uses magical golden rings to travel portal-like to other planets where he will be safe from any enemies who want to harness his powers. So he’s been hanging on Earth for awhile, hiding out in a teeny town in Montana. Sonic is kinda obsessed with the town sheriff, Tom (James Marsden) and his wife Maddie (Tika Sumpter), who are a nice, normal, kind couple who love each other and their town - all Sonic wants is to be friends with them because he’s so lonely. One night, that loneliness manifests in a big way through his superspeed powers - enough to garner the attention of Dr. Robotnik (Jim Carrey, returning to the rubberfaced comedy that made him famous). In his efforts to escape Dr. Robotnik, two things happen: Tom discovers Sonic’s existence and subsequently makes Sonic lose his magical rings. So you know what that means - oddball buddy road trip movie time as they go on a quest to get the rings back!

Some thoughts:

Ben Schwartz is amazing in this role. It’s perfect casting, and a great voice performance as he injects so much joy and wonder into every moment. You really feel Sonic’s outsider status, his loneliness, his yearning, and his ceaseless joy at every new experience he has. 

There is a Very Good Dog in multiple scenes of the movie! He is doing the best job!!

Such a fantastic surprise to see Adam Pally in a supporting role as a deeply earnest and clueless deputy. 

And is there any more reliably affable actor than James Marsden? I have never NOT liked him in anything I’ve seen, and he seems like just a general good-natured stand-up guy. His chemistry with Sonic is really great, which is always impressive when you imagine him acting next to a tennis ball or otherwise strange CGI stand-in. 

One of my favorite things about the film is Tom and Maddie’s marriage. Even though Tom is one half of the madcap buddy duo that makes up the bulk of the film, Maddie is his equal partner. They are shown to genuinely like each other, and she is never depicted as the nag or the lame wife who is trying to stifle his adventures or act as the Voice of Reason who is demanding he come back for his safety. She supports this crazy ride because Sonic is in danger and she has a big heart and wants to help him too. I’m particularly glad they didn’t shove her into a subservient nonexistent wife role, or an Angry Black Woman role. I just think it’s so good for kids to see this married couple who are working together to help someone and who love AND like each other.

The biggest highlight is obviously seeing Jim Carrey return to his form as a sort of evil, power-hungry Ace Ventura. He’s over-the-top, his whole body is made of rubber, and he’s having the time of his life. Case in point - he has a dance sequence in the middle of the film that made me grin so hard my face hurt. He’s cartoonishly evil in the best way, and it works because Dr. Robotnik is one of those villains that wants to fuck shit up just cause. That’s difficult to buy into, but Carrey’s madcap performance and his absolute commitment to being the smartest person in any room and hating everyone else for it really makes it work.  

I was so delighted by how tight Patrick Casey and Josh Miller’s script is from start to finish. There’s an actual good reason Tom and Sonic are stuck together. Sonic loves watching action movies (from the bushes outside Tom’s house) so the movie is full of fun classic action movie homages and lines that keep things light and fun even in the midst of some peril. And there’s real emotional and physical stakes here as Sonic tries to find a friend and a place he can call home where he won’t have to worry about running from his enemies. 

Did I Cry? I teared up a little near the end at some very tender friend talk!

There are two extra scenes during the credits - don’t miss them, particularly if you are a fan of the whole Sonic mythos in general!

This movie is sweet, fun, genuinely funny, and just as quick as its namesake. I went into it just for a little escapism, and came out with a movie that will forever be tied to my memories of one of the best friends I’ve ever had. I think Hamish would be proud, Sonic, and I’m glad I got to have the time with both of you that I did. 

If you liked this review, please consider reblogging or subscribing to my Patreon! For as low as $1, you can access bonus content and movie reviews, or even request that I review any movie of your choice.

#120in2020 #sonic the hedgehog #sonic movie #sonic review #sonic the hedgehog review #ben schwartz #jim carrey #james marsden #tika sumpter #adam pally #dr robotnik #movie reviews #film reviews

[frasier-crane-style]

oKAY, I got a few Redbox rental for my birthday, so I decided to pick up Spider-Man: Far From Home, skip all the Disney Channel Original Movie stuff, and see how it stacks up as a pure Spider-Man movie. Which is not easy, because they’re in full Marvel movie mode, and every two minutes there’s a wacky aside or a sight gag or something. It’s not even Peter making jokes, which would be in-character. It’s just banter about Happy’s password being Password and stuff. There’s not one wholly dramatic scene in this movie, it has this Epic Movie sense of humor where something ‘hilarious’ is always defusing the tension. Like, all that’s missing is Leslie Nielsen being the tour guide.

1. Mexico. Mysterio has used ‘Sandman’ (confusingly referred to as a ‘cyclone with a face’--and then Spider-Man never even fights him) to destroy a town. I gotta say--if Mysterio has the ability to pull off no-bullshit terror attacks... yeah, the Sandman is fake, but the damage is real... why not just do that? It seems like there are a ton of evil organizations who would pay him loads of money.

2. Also, Mysterio is really not shy about lowering the dome and showing his face. Wouldn’t a quick facial recognition scan, of the kind that you’d think Nick Fury would run all the time, ID him as Quentin Beck? And even if he’s going “hey, that’s my double, I’m from an alternate universe,” shouldn’t Nick Fury be a bit suspicious that the double of this mysterious new superhero is a disgruntled and unstable Stark employee?

3. By the way, I know the twist is that Nick Fury is really a Skrull and that’s why he’s so incompetent--telling Peter to take his mask off in front of fucking Mysterio--but Nick Fury left a Skrull playing him, so... who’s that on? You’d think any given Agent of SHIELD would do better.

4. First action scene. Hydroman attacks Venice and is defeated by Mysterio, with Spider-Man slightly assisting. He’s left his costume back at the hotel, so he does this while using a Venetian mask to disguise himself. Hilariously, he quickly takes this off to, yes, show us his face. (Also, I guess no one notices that Not!Spider-Man is wearing the exact same clothes and has the exact same body type as Peter.) He also doesn’t make any quips besides referring to himself as “really strong and sticky.” Being awkward is not a one-liner, movie. 

5. Also, others have pointed out that this Spider-Man seems more concerned about saving property than saving lives, and it must be said that for much of this fight, Peter is trying to stop a belltower from collapsing, with no sign that he’s buying time for people to evacuate it or anything. Sure, it’s a worthy goal and all, but I have to ask how much good patching a belltower up with webbing is going to do? It’ll dissolve in an hour and then where are you? Does he really think the authorities will be able to fix it up before then? Seems like he would be better served letting it collapse and attacking Hydroman to keep him from doing more damage.

6. You ever notice how movie characters always refer to sleeping pills and such as ‘a mild sedative’? Naut Fury shoots Ned/Ganke with a dart that instantly knocks him out, then calls it “a mild tranquilizer.” Christ, what would a strong tranquilizer do, put him in a coma for ten years?

7. Man, it’s weird how inconsistent this movie is with basic characterization. Peter turns down saving the world because Spider-Man being seen in Europe might give away his identity, but he’s also blase about taking off his mask in front of Nick Fury and co. And Tom Holland walking around unmasked really makes it obvious that his suit is a CGI effect that his head is awkwardly hovering on top of. I guess just putting someone in a costume is a lost art.

And I’m not even watching this on Blu-Ray. This is a DVD, because Redbox is shit and, even though their e-mail said the promo code was good for a Blu-Ray, apparently I can only use it for a DVD. Thanks, thanks for ruining my special day. Prats.

8. I know the whole EDITH thing has been meta’d elsewhere, but I just want to point out that Stark Enterprises has a ‘global defense network’. With drones and backdoors into every telecommunications company. Imagine if Microsoft announced that, oh, hey, we have a Panzer division. I guess Stark Enterprises is a PMC now? I thought they went into clean energy. Apparently they still make weapons, but now they... hoard them to use for their own purposes? Not creepy at all. Like, Marvel does realize they are writing an evil megacorporation here, right?

9. Oh, now we’re just getting aggressively stupid. Peter is met by a SHIELD agent who insists that he strip to change into an alternate, non-Spider-Man suit (so I guess, after an action scene where he’s in civilian clothes, now we’re going to get one where he’s in this spy costume. Yeah, I hate seeing Spider-Man in a Spider-Man movie.) I’m not sure why he has to do this now instead of simply putting the suit in his backpack. I’m also not sure why he has to strip in front of her. He doesn’t even try to go somewhere private to change and she doesn’t say anything like “Why are you taking off your clothes in front of me like a retard? Go around the corner or something, fuckwit.” It’s all to set up a scene where Peter gets seen by his (sigh) rival for MJ’s heart, who takes a cell phone picture, leading us to... well, leading me to wonder why they couldn’t have put a little more thought into staging this scene so it was slightly believable? Like he could have trouble putting it on in private, the female agent could go to check on him, and Random Non-canon Character could stumble in on them that way. But anyway.

10. With literally insane ease, Peter designates Brad a target and EDITH launches a drone strike on him. For various ridiculous reasons, Peter can’t just say abort, so he eventually distracts EVERYONE by saying there are baby mountain goats, webs the drone while no one is looking, and--that works. No one notices.

Man, that’s some fucking weaksauce.

11. I’m fast-forwarding a bunch, but we seem to spend a lot of time on Peter trying to get his friends out of harm’s way for the upcoming fight scene in Prague, only for them to end up in harm’s way. For the second action sequence in a row. It seems like he could’ve succeeded and then just been trying to rescue normal civilians instead of people he knows personally, but then I guess we couldn’t have Ned and Betty/Gwen providing odious comic relief every other moment. Like, shit, Marvel, if you like dumb jokes so much, why don’t you just get Mike and the Bots to riff your movie? That’s pretty much what you’re doing anyway.

12. Peter’s new costume has no fingers on the gloves, so he’s leaving his prints everywhere. And then after the fight is over, the first thing he does is unmask and go out to get a drink with an also unmasked Mysterio in a crowded bar (hilariously, it literally turns out to be full of enemies who mean him harm). Jesus, movie, does he care about his secret identity or not? 

13. Also, again, no quips from Spider-Man. And I thought the watchword for this corner of the MCU was that he was a friendly neighborhood Spider-Man. Now he’s fighting giant monsters? Yeah, even if it’s a con job, it’s a con job that could potentially kill millions of people. Doesn’t that seem like absurdly high stakes, considering? Remember the first Spider-Man movie, when the only stakes at the climax were Peter saving a bus full of kids and MJ? Would that really have been better if there’d been another five million buses the Green Goblin was threatening to drop?

14. We’re doing the whole “does Peter want to be Spider-Man or not?” story again. It’s weird how markedly inferior this take on that is to Spider-Man 2. This Spider-Man has a whole spy network and AI satellites backing him up (which doesn’t stop him from remarking that Mysterio is “the only one he can talk to about superhero stuff,” as if fifty people don’t know who he is). Maguire’s Spider-Man’s life was genuinely shitty because of his superheroing; he couldn’t be with the woman he loved! This Spider-Man... can’t mack on the girl that he inexplicably has a crush on out of nowhere. Not exactly the stuff of great drama.

15. Pause to point out what a naked plot device Tony giving Peter EDITH is. He couldn’t give it to Pepper? Rhodey? Steve? Like... anyone who’s more emotionally mature and experienced? It’s just a ridiculous conceit. Supervillains literally target Peter specifically because he possesses EDITH. Way to put the crosshairs on a sixteen-year-old boy, Tony ‘Depraved Indifference’ Stark.

16. “To my very wealthy crew!” Okay, so I guess Beck isn’t just doing this for the satisfaction of being a fake superhero, he sees this as enriching him and his henchmen somehow? How? It’s not like Captain America or Scarlet Witch are fabulously wealthy. I could see Stark as paying for their room and board and giving them an expense account, but that doesn’t seem worth going to the trouble of this whole Mysterio business for. Like I said, once you have the power to pull off fake/not-fake terror attacks, that’s a golden ticket already. Why couldn’t he do shit like Le Chiffre was doing in Casino Royale, playing the stock market with his fake catastrophes? 

16a. And okay, so you say the whole Mysterio thing was just to con EDITH off of Peter. If they’re already able to pull off these terror attacks, how much more can EDITH do for them? It’s like, you already have essentially unlimited resources as far as the story’s concerned--why do you need EVEN MORE unlimited resources?

16b. And is Mysterio going to be a real superhero or fake? Like, is he potentially going to fight Thanos or someone? Because if he is, the whole Elemental thing seems like an unnecessary risk. Just find some HYDRA guys, go to town on them, bang, you’re a superhero. And if you’re going to be a fake Avenger--well, what do you do when Thanos shows up? Call in sick?

17. So in his new, definitely Miles Morales suit, Peter has the ability to send out a destructive electric charge. A venom blast. He has a venom blast. Man, they’re not even trying to hide that this is white Miles Morales, are they? 

18. To damn with faint praise, I thought the drone swarm was a good ‘real-world’ explanation of Mysterio’s power set and the ‘nightmare’ sequence was a good use of them, although it’s just the usual hallucinatory imagery you’d expect from someone with an illusion gimmick, not something as groundbreaking as the Raimi movies offered. Coincidentally, this is also the one action sequence in the movie where Peter’s in his classic costume, and that’s only an illusion Mysterio puts over his dumb Night Monkey suit. 

I also think Peter being able to survive being hit by a train more or less uninjured--he just needs a few stitches!--is a bit much, but then, that happened in Spider-Man 2.5 as well. And there they made a big deal of Peter and Ock trying to avoid getting hit by trains, so arguably that was more egregious. 

And it’s weird to have such a self-aware, genre-savvy villain just assume Peter is dead. It seems like he could’ve at least sent someone to the next station to confirm his death, or even had someone waiting there, if his plan all along was to hit Peter with a train. (Also, I’m pretty sure train conductors stop the train when they hit someone, but maybe that’s only an American thing.)

19. By the end, Mysterio decides to drop the whole illusion thing to frame Spider-Man for the drones (Peter’s friends are also put in danger yet again. Three times in one movie! That’s basically every action sequence that really happens!). I’d think disorienting people with invisible drones would be an advantage you wouldn’t want to just get rid of, but he’s the supervillain, not me. Noticeably, this plan hinges on him dying and posthumously ruining Spider-Man’s life, so...

20. Also, I complained about this with Captain Marvel, but if you’re doing a two-hour movie with a supposed character arc for Peter, shouldn’t that have something to do with him winning? He pretty much only wins because the power of spider-sense which he arbitrarily received arbitrarily works for him after arbitrarily not working for a while... and if this is some kind of confidence-powered superpowers, I should note that Spider-Man 2 already did Peter losing his powers because of losing confidence and it depicted him getting them back much more effectively. This Peter I guess only needs a pep talk from Happy Hogan.

21. I mean, couldn’t they bullshit something about hacking EDITH--you know, Peter using his wits since that’s what supposedly makes him ‘the next Iron Man’--maybe turning the tables on Mysterio with a con job of his own, instead of just winning because he happens to have an illusion-proof superpower on top of a billion-dollar supersuit and a literal global defense network? Spider-Man has a global defense network, y’all. How can you lambaste Man of Steel for making Superman dark and broody and then think Iron Man Peter Parker is a good take on the character? Geez.

#spider-man

[hellzyeahwebwieldingreviews]

Untold Tales of Spider-Man 02: After the First Death… – by Tom DeFalco

A story that has me debating the nature of these stories.

A soggy Spidey swings through rainy Manhattan looking for crime shots for the Daily Bugle. He comes upon Kent and Wayne Weisinger on the roof of Stockbridge Jewelers, planning to rob it. Confident that he can end the fight anytime he wants to, Spidey stretches it out so that his automatic camera can take as many photos as possible. Kent and Wayne have a longstanding sibling rivalry marked by Kent's resentment of being the "muscle" to Wayne's "brains" along with feeling that his brother always cheats him. During the fight, Kent appears to charge at Spidey but when the web-slinger leaps out of the way, Kent doesn't stop, charging into Wayne and knocking him off the roof. Wayne falls five stories to his death and all the by-standers think Spidey did it. Guiltily, Spidey flees, forgetting about Kent altogether.

So, Kent goes to Wayne's estranged wife Jeannette to tell her the news. "Solid ice," Jeannette could care less about Wayne's death except that she's lost her meal ticket. When Kent blames the death on Spider-Man, Jeannette gets an idea on how to cash in.

In fact, Peter Parker seems to be the only one emotionally affected by Wayne's death. He has a sleepless night, trying to cope with the situation. Unguarded, he admits to J. Jonah Jameson that he has photos of the incident. His resolve to not sell the photos is beaten down by Jameson's arm-twisting and his own need for money. He sells the pictures and is then introduced to Jeannette, now the grieving widow of Wayne, who has come to JJJ for help in instituting a civil suit against Spider-Man. At school, Peter's conscience makes him counter Flash Thompson's avowal that "Spidey's no murderer" with "Maybe the wall-crawler didn't actually kill the man... but that doesn't mean he shouldn't be held accountable for what happened." Back in action, Spidey hesitates over stopping a purse-snatcher, fearful that he may cause another tragedy. Back home, Peter doesn't know what to do. He recalls that Uncle Ben's death made him swear, "that no innocent person would ever again be made to suffer because Spider-Man had failed to act. It had never occurred to him that anyone would suffer because of Spider-Man's acts." And while Wayne wasn't exactly innocent, "he had suffered because Peter had acted irresponsibly." He ends up having one of those vague discussions with Aunt May where he can't tell her any details because she doesn't know he's Spider-Man, yet she manages to hit the nail on the head, telling him in this case, "Everybody makes mistakes, Peter. You just try to learn from your failures as best you can, and you move on. You'll always get another chance to do better as long as you keep at it."

Meanwhile, Jeannette decides to kick Kent out of the deal and keep any anticipated profits for herself. So even as Spidey sucks it up and gets back into action, proving himself a hero, Kent decides he's not going to be kicked around anymore, buttonholes a TV reporter and gives an interview in which he reveals "that he deliberately pushed his elder brother off the roof of Stockbridge Jewelers because of numerous past frustrations." At Midtown High, Flash crows over Spidey's exoneration but Peter won't let the web-slinger off so easily. "A real hero would have found a way to save Wayne Weisinger" he says, "He would have acted smarter, reacted quicker, or behaved more responsibly... And that's something Spider-Man will have to live with for the rest of his life."

Because these are untold tales, prose stories and utilize the comic book continuity you can analyse them from several different angles and their worth changes depending upon those angles.

 Chiefly this boils down to whether I judge this as a story unto itself or within the context of comic book continuity as it existed back then? What about the fact that I’m here in 2020 evaluating a prose book written in 1990 that’s trying to synch up with comic book stories written in the 1960.

 It boggles the mind. All I can do is write about how I feel.

 I liked this story unto itself and within the context of this book. I think, kind of like the last story, that it doesn’t really integrate into Spider-Man’s comic book history.

 The emotional journey of Peter in this story involves learning that he needs to be careful about how he acts. In this regard it’s rather similar to his lesson from Gwen’s death, which is kind of my problem. This story’s title implies this is in fact the very first time Spider-Man has experienced death ‘on the job’ as it were.

Surely such a thing would weigh on his mind more, surely it’d crop up when he dwells on the list of people he’s seen die or feels guilty about dying. Or at least he’d be reminded of Wayne’s death when Gwen dies.

In the comics of course Wayne has never ever been mentioned. Duh, because he didn’t exist until DeFalco invented him for this story. Of course we could draw comparisons with Sally Avril, a character from AF #15 who died in the comic book version of Untold Tales but whose death went unacknowledged in stories from the 60s-90s.

I think the critical difference there is that (IIRC) Peter wasn’t particularly responsible for her death whereas in the case of Wayne, whilst he didn’t push him off the building, his arrogance really did directly contribute to his death. Plus seeing a man die in such a horrible way, especially if it is the first time he’s ever seen a dead body, would likely leave a bigger impression upon Peter than the nature of Sally’s death, although I must admit it’s been a long time since I read that issue so perhaps I am wrong.

From a continuity stand point this is the minefield you always walk, but at the same time it’d be difficult to generate drama if you didn’t step on those mines occasionally.

I feel DeFalco here wanted to tell a dramatic story that had Peter grapple with a genuinely emotional situation and also took advantage of the nature of this story as a flashback tale.

And frankly he succeeded. If you view this either out of continuity or essentially within an incredibly generalized canon of Spider-Man (i.e. Gwen Stacy died, whether Peter did or didn’t think about Wayne is ambiguous though) the story very much works. I doubt DeFalco or anyone else was honestly feeling any of these stories were going to strictly be canon anyway. However for the record this story happens at some point after ASM #9 because when we get a list of Spider-Man’s opponents they all appeared up to that issue.

 Looking at the story itself its flaws are incredibly minor.

 Some of the dialogue feels old fashioned, but I argue that is likely by design since this is set in an older time period. We go over exposition related to Peter’s origin again, which is more the editor’s fault since we got those details in the first story of the anthology. In fairness revisiting it does serve a greater purpose here because the story is directly ruminating upon the nature of responsibility. In that sense it would’ve been more logical to open the book up with this than the Ant-Man story and I see little reason as to why this couldn’t have in theory happened at an earlier point chronologically. Yeah the Ant-Man story claims Spider-Man’s a new figure on the scene but the passage of time in the first 10 issues of ASM is so vague it’s really not unbelievable that even by issue #9 Spidey might still be considered ‘new’.

 Not only does the story explore (and successfully at that) the theme of responsibility, approaching it from the opposite direction from the lesson Ben’s death imparted, but it also features the supporting cast more. Flash, Aunt May, Jameson, the Bugle and public distrust of Spider-Man are all given notable roles to play in the story, again proving that THIS should’ve opened the book.

 To go back to the theme of responsibility for a moment, perhaps the most nuanced bit of writing in the story is when Peter is on the phone to Jameson. Peter has a really great ethical dilemma. Would it be irresponsible to profit off of Wayne’s death or would it be irresponsible to not profit off of it and use the money to support his Aunt May?

 DeFalco more than any other writer GETS Spider-Man and his depiction of Peter’s internal debate, whilst short, rings utterly true. What gets me is that most of the time whenever I’ve seen this sort of thing done with Peter he’s actually made a different decision, but here DeFalco recognizes that in actuality Peter WOULD consider his responsibilities as the bread winner outweigh what boils down to him merely feeling bad about profiting off a man’s death. It’s not all that different to when he faked photos of Electro to help Aunt May. Yes it’s unethical, but there was a higher responsibility, a greater good at stake.*

 Kent and Jeanette’s subplot, whilst arguably wrapped up unsatisfactorily, does a neat job of evoking something of a daytime drama or even noir story, and in that light fits wonderfully into the brand of stories Lee and Ditko churned out way back at the start.

 In fact of the two opening stories this one more successfully captured that era and by extension the approach of the comic book version of UToSM. Whilst the Ant-Man story was fun, it was the prose equivalent of a typical MTU super hero yarn complete with dodgy pseudo science.

 This story though? Now this is a Spider-Man  story. It has a singular main character (Kent is ultimately a supporting player) and whether he’s in or out of the costume the story is driven by the emotional and human problems faced by the character, not the fantastical super human issues. In classic Spidey manner those two halves of his life bleed over into one another and lack a clear cut divide.

 Really in the Ant-Man story Peter’s personal life would’ve gone mostly unaffected whether he had gotten involved or not. It wasn’t about Peter Parker, it was about Spider-Man. This story is about both.

 Peter needs money to look after himself, his home and Aunt May. So he looks for trouble as Spider-Man and pads out a fight. That gets someone killed which haunts Peter and makes him hesitate to BE Spider-Man, even whilst he reluctantly profits off it as Peter Parker which in turn contributes to his being falsely accused as Spider-Man and kids as school hating on him because he will not defend Spider-Man from these accusations.

 Wham, Bam, DeFalco is the Man. THAT’S a fucking Spidey story right there!

 The only thing for me which really and truly did let this story down wasn’t the fault of the book, but the audio production.

 I’m hoping DeSantos was just off his game for this story, but between this and his prior efforts I think he’s achingly miscast as the narrator of this title. He worked better narrating Stan Lee and Busiek’s forwards than the actual stories. As Aunt May, Kent and Jeanette he wasn’t that bad (actually pretty good as Kent), but his Peter/Spider-Man fails. He can’t even sell the emotion of the non-dialogue bits. He’s not a bad narrator, but not right for this book.

 Over all taken strictly within comics canon there are a lot of contradictions. But taken as it’s own thing or (I suspect) within the context of this one book, this is a knock out story.

 *By the way DeFalco also seamlessly blends humour and tragedy in the scene. Peter’s internal debate and horror at the prospect of profiting off of Wayne’s death leaves him in silence which in turn is misinterpreted by Jameson causing him to raise his offer which in turn causes Peter more internal strife. Just brilliant!

#Tom DeFalco #Ron Frenz #Gwen Stacy #Spider-Man #Peter Parker #Untold Tales Of Spider-Man #Stan Lee #Kurt Busiek #Aunt May #May Parker #J. Jonah Jameson

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Why Spider-Man 3’s Venom Didn’t Need to Be a Joke

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By now, Marvel’s Venom is principally associated with Tom Hardy’s hulking symbiotic anti-hero movie protagonist. While lacking comic rival Spider-Man, the 2018 film delivered an exponential bang for studio Sony’s buck with an $856 million global gross, yielding imminently-arriving sequel Venom: Let There Be Carnage. However, with Spider-Man: No Way Home set to conjure a cavalcade of villains from past iterations, the notorious first live-action version of Venom, as played by Topher Grace, has entered the speculative conversation—albeit humorously. Ironically, the character’s punchline status could have been avoided.

Of course, said conversation on prospective returnees for Spider-Man: No Way Home is, naturally, dominated by speculation that current star Tom Holland will be joined onscreen by former Wall-Crawlers Tobey Maguire and Andrew Garfield. The notion is abundantly boosted by the film’s now-confirmed multiverse plot, which will bring about the return of some of their onscreen rivals, notably Alfred Molina’s Doctor Octopus (Spider-Man 2), Jamie Foxx’s Electro (The Amazing Spider-Man 2), Willem Dafoe’s Green Goblin (Spider-Man), and Thomas Haden Church’s Sandman (Spider-Man 3) is strongly believed to be in the film as well. However, while very few fans were expecting—or, let’s face it, asking for—Topher Grace’s Venom (Spider-Man 3) to be among the group, the actor fielded such a question in a recent Reddit AMA, yielding an elaborate, sidesplitting answer.

“Please keep it between us but yes, I am in it,” says Grace, digitally dripping with sarcasm. “The plot starts with Peter Parker (Tom Holland) bummed that everyone knows his identity and then some crazy shit happens with Dr. Strange and Dr. Octopus (Alfred Molina) comes into his dimension. Then Electro and the Green Goblin hop out of one of those ‘energy circles’ and they’re like “It’s spider stompin time”. Then Tom Hardy and I pop out and battle each other and I win (obvi), it’s like not even a fight I just kick his ass immediately. Not to give too much away but there are also some actors from the original 70s Spiderman show, Aquaman and Batman (Affleck, not Keaton) crossover, and thanks to Disney Han Solo’s ghost from Rise of Skywalker, and that Eve robot from Wall-E. Again, please keep between us.”

As hilarious as that franchise-crossing scenario would have been, Grace’s Venom is unlikely set for further appearances, lest Sony revel in one of its most monumental mistakes. Among the numerous critiques for the film, the overwhelmingly negative public perception regarding Grace’s role as Eddie Brock/Venom in Spider-Man 3 remains one of the most prominent. It’s something that he’s dealt with pretty much since the time of its 2007 release, and has since come to the kind of humorous acceptance of a laid egg that Ryan Reynolds wields regarding 2011’s Green Lantern. After all, the role took the fearsomely iconic breakthrough villain of artist Todd McFarlane’s legendary run on The Amazing Spider-Man and made him into a bitter nerd with frosted blonde tips who—upon inheriting the film’s hastily-introduced version of the alien symbiote—ramped up a petty professional grievance with Maguire’s Peter Parker in his costumed capacity as Spider-Man. Moreover, the film relegated the already-underwhelming depiction of the popular character to being an afterthought transparently jammed into a detrimentally-mounding array of storylines to a catastrophically brief, forgettable effect.

Sony Pictures

Contextually, the character’s labored inclusion remains one of the most famous examples of what can go wrong when a studio strong-arms a director—in this case Sam Raimi—over creative choices. While Raimi’s Spider-Man films were firing on all cylinders, creating unprecedented brand momentum—alongside contemporaries in Fox’s X-Men movies—for the burgeoning comic book movie genre. Nevertheless, he was facing pressure upon heading into the third film. While 2002’s original film was a monumental success that yielded $825 million worldwide, 2004’s Spider-Man 2—widely beloved as it may have been for its memorable onscreen scraps with Molina’s emotionally-potent Doc Ock—curiously came up short of its predecessor with $788.9 million. Thusly, producers were intent on reshaping Raimi’s original vision for the film, which originally would have seen his main villain, the Sandman (Church) complemented tangentially by the Vulture, a role for which Ben Kingsley was eyed.

As the story goes, producer and Marvel executive Avi Arad successfully pressured an initially reluctant, Venom-averse Raimi to instead use the character for an appearance, which ideally could have boost comic sales. Yet, it positioned the fan-favorite character as a subordinate on the narrative hierarchy to the main Sandman story, which bore a movie-dramatic narrative that stood in contrast from the comics, with the grain-shifting supervillain was revealed as the burglar who, years ago, killed Uncle Ben—albeit accidentally, and motivated by the humanistic desire to afford caring for his terminally ill daughter. Yet, the film already seemed to be full, especially with the trilogy-spanning storyline focused on the fated dissolution of Peter’s friendship with Harry Osborn (James Franco), and the inevitable climactic showdown between Spider-Man and a new Green Goblin, who seeks vengeance against the friend who he believes to be his father’s killer.    

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After some creative shuffling, the end result was a devastatingly disjointed Spider-Man 3 that, at its heart, centers on Peter Parker’s internal battle with his own growing hubris—in contrast to his self-torturous guilt in the previous film—as the public popularity of his web-swinging alter-ego reaches a fever pitch. Said battle becomes upgraded to an extraterrestrial scale upon his accidental joining with the meteorite-landed symbiote, which takes shape as a black version of his costume, yielding even more extraordinary abilities than he already possessed. However, while riding on the highest of highs, Peter’s life at the Daily Bugle makes him an enemy in fellow journalist Eddie Brock, who Peter exposed after he attempted to frame Spidey for crimes using fake photos; an act that landed Peter the staff position that Eddie coveted. Yet, what started as an unrelated side story at Peter’s workplace somehow becomes amalgamated with the film’s larger stakes—the Sandman and New Goblin—that necessarily dominate the film.  

Notwithstanding its rushed nature and lack of visual comic book fidelity, the choice to cast Grace as Brock—at least in that initial capacity—was arguably apt, since this version of the disgraced journo, like Peter, is a nerdy white kid of similar background who’s simply looking for acceptance against overwhelming odds. The difference between the two, as exemplified by his fraudulent practices, is that Eddie is not above taking shortcuts where he can get them—an aspect of his character that foretells his fate. Fortuitously, upon his lowest of lows, he stumbles upon the ultimate shortcut when the symbiote—at this point rejected by Peter—finds a similarly-bitter host in Brock, thusly making him into the villainous Venom. Yet, on paper, this is an intriguing dynamic, with Brock/Venom set up as a villain who poetically parallels Peter during a crucial intersection of his crimefighting career, in which he finds himself resisting the use of his powers for self-gain and personal glory; temptation that manifested in the form of the symbiote before he came to a realization of its darkness.

Ironically enough, Spider-Man 3‘s $894.9 million worldwide take would make it the highest-grossing entry of Raimi’s trilogy. Despite that, its version of Venom was an abject failure for numerous reasons, notably that the film became a clown car of tonally incompatible antagonists weighed down by disparate plot points. Indeed, in the brief amount of time devoted to his story, Venom hardly came across as the monstrous existential threat presented in the introductory comic story. The role also failed to reflect the more nuanced comic elements of the character’s personality that eventually led to a successful conversion into being an anti-hero. Moreover, even the aesthetic presentation of Grace joined with the symbiote as Venom was unimpressive and small. Yet, within the poetic parallels between Peter Parker and Eddie Brock was the nucleus of a potentially compelling storyline—one that could have come to fruition properly in the never-realized Spider-Man 4, instead of being sloppily rushed to a pumpkin-bomb-incinerated conclusion in this film.

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Regardless, fans have plenty of Venom (as played by Tom Hardy,) set for the near future, with solo sequel Venom: Let There Be Carnage scheduled to hit theaters on Friday, Sept. 24. Less than three months later, Spider-Man: No Way Home will bring multiverse mischief when it hits theaters on Dec. 17, trailed by Marvel Studios’ presumed follow-up, Doctor Strange in the Multiverse of Madness on Mar. 15.

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