I saw Spider-Man: No Way Home in theatres.
Despite being packed, making me incredibly uncomfortable with COVID protocols, spending almost 2.5 hours with a nearly-full auditorium ruled. It was something I hadn’t experienced since the pandemic started in March of 2020. And you know something? I missed it badly.
I’m not kidding! Despite my issues with the modern theatre-going experience, there’s an energy that comes with watching movies with others. When they laugh, you feel it. When they cheer, you feel it. When they cry, you feel it. And when they gasp…you get the picture.
This was especially true with Spider-Man: No Way Home. MCU films are generally riveting, but this one was unique. This was Spider-Man, one of the most popular and well-known comic IPs ever. A lot of expectation was being shouldered on this film, especially as a trilogy-capper. Add in that the previous movie, Spider-Man: Far From Home, ended on a twist, a rather dark one, and the anticipation was through the roof.
Did it deliver? Yes. Which is surprising, considering what could’ve gone wrong. The premise and story-threads alone could’ve sunk it: it had to not only bring back 5 villains from 2 franchises, it also had tie up loose ends from said franchises while feeling earned and natural. And it still had to be a satisfying follow-up to The MCU’s take on Spider-Man. That’s a big ask for a movie of any kind.
I think it worked because, despite its setup, it still felt small and personal. This is a movie about a character making his life worse trying fix it. He screws up, pays for it, loses people close to him and makes difficult sacrifices. It’s all pretty heavy, but it’s quintessential Spider-Man storytelling. Because that’s what it means to be a relatable hero, right?
I don’t need to tell you this, as the audience’s energy throughout sold that. Going back to the reactions, when characters in the movie made jokes, the audience laughed hard. When Matt Murdock’s actor returned from Daredevil, or when Tobey Maguire and Andrew Garfield showed up, the audience cheered so hard I felt the ground vibrating. When Aunt May died, almost everyone cried. And when Maguire’s Spider-Man got stabbed by The Green Goblin’s glider, I heard audible gasps.
I think it worked because, despite its setup, it still felt small and personal. This is a movie about a character making his life worse trying fix it. He screws up, pays for it, loses people close to him and makes difficult sacrifices. It’s all pretty heavy, but it’s quintessential Spider-Man storytelling. Because that’s what it means to be a relatable hero, right?
I don’t need to tell you this, as the audience’s energy throughout sold that. Going back to the reactions, when characters in the movie made jokes, the audience laughed hard. When Matt Murdock’s actor returned from Daredevil, or when Tobey Maguire and Andrew Garfield showed up, the audience cheered so hard I felt the ground vibrating. When Aunt May died, almost everyone cried. And when Maguire’s Spider-Man got stabbed by The Green Goblin’s glider, I heard audible gasps.
All the while, I was thinking to myself, “Spider-Man’s back, baby!”. Because while I’ve enjoyed the previous MCU Spider-Man films, they’ve also felt a little light. This one, however, had that missing ingredient from the Raimi films in the early/mid-2000’s. It was personal, intimate and, most-importantly, emotional. And that’s what I wanted.
I think that’s what other people wanted too. I know the claims of Martin Scorsese are still weighing on my mind, making me self-doubt myself for liking corporately-crafted action movies, but I don’t care. I disagreed then, and I disagree now. I think there’s plenty of merit to commercially viable franchise bait, irrespective of whether or not it crowds out smaller, more ambitious stories.
Besides, is that really the fault of a well-made movie? No. Honestly, the modern filmgoing experience is already non-conducive to attending it: the ticket prices are outrageous, the theatres are packed full of annoying people, you’re not treated with respect half the time, and the ads take up too much time. Sure, the end result’s worth putting up with that, but I’m in the minority. Many people only go to the theatre now if they feel it’s worth it, and that’s not often.
I think that’s what other people wanted too. I know the claims of Martin Scorsese are still weighing on my mind, making me self-doubt myself for liking corporately-crafted action movies, but I don’t care. I disagreed then, and I disagree now. I think there’s plenty of merit to commercially viable franchise bait, irrespective of whether or not it crowds out smaller, more ambitious stories.
Besides, is that really the fault of a well-made movie? No. Honestly, the modern filmgoing experience is already non-conducive to attending it: the ticket prices are outrageous, the theatres are packed full of annoying people, you’re not treated with respect half the time, and the ads take up too much time. Sure, the end result’s worth putting up with that, but I’m in the minority. Many people only go to the theatre now if they feel it’s worth it, and that’s not often.
I think movies like Spider-Man: No Way Home are part of why they’d go at all. Is it another superhero blockbuster? Yes. Is it “crowding out” other movies? Maybe. Is it the best-written movie of the year? Not by a long shot!
But it doesn’t matter. Because quality isn’t the ultimate, defining factor in entertainment, and because the filmgoing experience is too subjective to fit in a neat box. As I’ve said in the past, it’s nobody’s business if you find a commercially viable, self-referential experience moving. Life’s too short and precious to be a gatekeeper.
Ultimately, Spider-Man: No Way Home’s a solid reminder of the staying power of these kinds of movies. It may not “hold up” narratively over multiple re-watches, but emotionally? I think it has that in the bag. It even utilizes the theme of redemption efficiently, reclaiming the legacies of Maguire and Garfield while also humanizing their rogues galleries. You have to know what you’re doing for that to not feel ham-fisted or lame, and this movie does!
But it doesn’t matter. Because quality isn’t the ultimate, defining factor in entertainment, and because the filmgoing experience is too subjective to fit in a neat box. As I’ve said in the past, it’s nobody’s business if you find a commercially viable, self-referential experience moving. Life’s too short and precious to be a gatekeeper.
Ultimately, Spider-Man: No Way Home’s a solid reminder of the staying power of these kinds of movies. It may not “hold up” narratively over multiple re-watches, but emotionally? I think it has that in the bag. It even utilizes the theme of redemption efficiently, reclaiming the legacies of Maguire and Garfield while also humanizing their rogues galleries. You have to know what you’re doing for that to not feel ham-fisted or lame, and this movie does!
*****
As you’ve no doubt noticed, this year I’ve cut back on my monthly content. The reason’s quite obvious: I’m working two part-time jobs, and it’s taxing mentally to focus on that and constantly put out new content. I know this means less engagement on my Blog, but I definitely think the trade-off’s worth it. Perhaps I’ll surprise you all with my final piece of the year, there’s roughly a week and a half left of 2021, but until then I’ll see you next time!
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