Spider-Man: No Way Home just held its rabidly awaited premiere last night and the internet is already on fire with all the reactions from those who attended. Our own Mary Maerz got to attend a press screening and also joined the chorus of celebratory acclaim for the film. Check out her full review here.
Tag: Spider-Man
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REVIEW: ‘Spider-Man: Far From Home’ Was a Fitting Choice Post-‘Endgame’
Spider-Man: Far From Home is the final movie in our retrospective, as well as the last Spider-Man movie released in theaters (for now). 2019 was a special time for Marvel fans. After the massive event that was Avengers: Endgame, Spider-Man was meant to bring audiences into a period of rest between phases, as well as reframe what we can expect from the franchise’s future. However, the film’s most important task was to bring Peter out of Iron Man’s shadow and set him on his path.
Spider-Man: Far From Home, which takes place a few months after the events of Avengers: Endgame, tells the story of Peter Parker and his closest friends going on a well-deserved vacation to Europe. Peter’s idyll is interrupted when Nick Fury comes to him asking for help as mysterious multiversal beasts are ravaging the continent. At least, that’s what the movie wants you to believe.
In the film, Peter Parker (Tom Holland) undergoes a very significant character development in the context of the entire universe, which is somewhat like a reversal of his storyline from Homecoming. After his cosmic journey, Peter wants to rest, he does not want to be put in the role of the successor of Iron Man whose death still haunts him. The public sees him as Stark’s successor, but the teenager prefers to forget about that and focus on declaring his love for MJ (Zendaya). This escapist motivation of Peter’s is very believable and, with the tragic events of his previous two films in mind, we root for him to realize his current plans.
What I loved most about the film was just all the holiday moments of Peter and his friends. I was also captivated by the childlike naivety and awkwardness of his relationship with MJ, which has a lot of heart and charm. Yet, Ned (Jacob Batalon) didn’t leave a great impression on me because of the fact he doesn’t have much to do in this film. The filmmakers gave him a romance with Betty (Anguire Rice), which ends as suddenly as it beings, and nothing comes from that eventually. Flash Thompson (Tony Revolori) is also worth mentioning, as his character has a nice little arc across the two Spider-Man movies. He’s in the background, but Watts outlines his sad life through some visual means. The ending of Far From Home certainly brought a lot of confusion and moral conflict into his life.
This escape, or rather conflict with being the successor to Iron Man has its narrative center in the extremely advanced E.D.I.T.H. technology. It allows the bearer to access a satellite and hundreds of drones. This plotline is by far my biggest problem with the film, which posthumously puts Stark in the rather reckless role of a mentor who took a carefully considered approach to Parker’s superheroic growth. Giving a teenager access to arguably one of the most advanced technologies of mass destruction is too much for me, and I have a hard time accepting this plot.
On the other side, we have Jake Gyllenhaal as Quentin Beck a.ka. Mysterio is a former Stark Industries employee responsible for creating B.A.R.F., the technology that was first introduced in Captain America: Civil War. I’m a huge fan of revisiting this tech, as I’ve always liked it when the MCU taps into themes that were teased or underdeveloped somewhere in a previous film. Gyllenhaal, of course, is very convincing in his role. He’s a bit goofy and over-expressive, but I think that makes this character interesting and memorable. On paper, this is another bad Stark’s villain, only this time we have a collective of Stark’s ex-employees.
What’s worth noting is that Far From Home is a very metatextual film and there are quite a few allusions in the story to the very shape of the MCU, our relationship with the universe, and the image of VFX artists. This auto thematic approach is something original and interesting within the MCU. The closing film of the Infinity Saga was perfect to address this kind of issue. We are put in the role of students who are going on a well-deserved vacation after years of intensely following the development of the universe, and the production is meant to put us in a sort of lethargy between phases.
The film communicates more than once that it is time to move on and to cut off certain attachments that still weigh on us, such as our relationship with Stark, which is well emphasized by Peter’s plot. On that note, the final scene with the swinging between Manhattan buildings is my favorite sequence in the film. It symbolizes a new era in Peter’s life, the MCU, and sets us, viewers, up for new and equally exciting adventures.
It also manifests itself in terms of special effects and the role of VFX artists in the filmmaking community. The storyline of Beck and his crew present how VFX artists are devalued in film discourse and how their immense contribution to history is often forgotten. This is a very interesting theme, considering how this actually plays out and the intensity with which people can trivialize aspects of special effects. Leaving that aside, the effects in Far From Home are on a really high level and the Mysterio illusion sequences or the third act are in my opinion the top of the MCU when it comes to visuals.
Spider-Man: Far From Home is a movie that perfectly fits into the post-Endgame reality, bringing Peter and us into a new era in the universe while giving us a lot of breathing room and a more relaxed atmosphere. I have a few gripes with this film, but Peter’s journey and the meta-narrative are interesting and engaging enough for me to like the film as well as its message. We’ll see how the sequel builds upon it.
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Sony’s Marketing Team Originally Wanted to ‘Spider-Man: No Way Home’ Keep the Villains a Secret
Spider-Man: No Way Home became one of Hollywood’s worst-kept secrets. Shortly around the time production started, news dropped that some iconic villains from the franchise’s history made their grand return. Alfred Molina flat-out confirmed his involvement at one point, which had everyone’s attention even more. Rumor after rumor hit the web on the villains and other Spider-Man actors making a return. Well, it seems that if they managed to keep this a secret, they were going to go down a very different marketing route.
Tom JHolland revealed in an interview with Yahoo.com that they were going to market the film as a “civil war” between Doctor Strange and Spider-Man. We do get some inclinations of that in the trailers, but they wanted to keep the villains of the marketing until they realized how impossible it was to keep them a secret.
Remember when that was the initial marketing plan? The initial plan was to make the film seem like a civil war between myself and Doctor Strange and they were gonna keep everything a secret. That is impossible.”
Tom HollandOf course, history turned out quite differently and some of the villains are highly showcased in the various trailers and even posters. It was a smart move, as it seemed that the confirmation of some of the rumors got everyone’s attention and hype, as it’s currently on route to becoming the highest-grossing film since the pandemic started. So, in a way, the rumor mill may have helped out a bit this time around even if they still can’t quite keep a lid on it.
Source: Yahoo
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REVIEW: ‘Spider-Man: Homecoming’ is the Fresh Take We Needed
Spider-Man: Homecoming was a highly anticipated film. Following Peter Parker’s introduction into the Marvel Cinematic Universe in Captain America: Civil War, his first solo outing was a big deal to many fans. Homecoming was perfect, and a true introduction to who of Spider-Man was and how he would fit into this new universe. With a truly threatening foe and a fantastic performance from Tom Holland, Spider-Man: Homecoming is one of the best Spider-Man solo films yet.
One of the biggest gripes with the characters was the reliance on Tony Stark and the strong attachment Peter Parker had to Iron Man. This felt valid and like the MCU was downplaying the character. Yet, Homecoming‘s strongest aspect is flipping that belief on its head and giving us the Spider-Man we’ve all known and loved. Everything Peter had given to him is taken away, but this doesn’t stop him from taking on the Vulture. He gets up and does what he knows he has to do and doesn’t let not having the Stark suit stop him. It’s Peter’s determination and willingness to help others that make him such a great character in this film.
The most essential piece of Peter Parker’s character is his ability to pick himself up and get right back to work. The scene where Peter is caught in the rubble of a building, dropped on him by the Vulture, feels so integral to his development because we see that he is Spider-Man first and Peter Parker second.
Michael Keaton helps elevate the film, with his portrayal of Adrian Toomes. The film is able to clearly define what drives Adrian Toomes and why he does what he does, making the audience feel sympathy for the character. They kick it up a notch when Toomes is revealed to be Liz Allen’s father. Not only is Keaton great, but the film creatively brings the weird bird-man into the modern-day with an absolutely stunning flight suit. The design is so much more sinister than his comic counterpart and works well in contrast with Spider-Man.
The film doesn’t feel too crowded either when it features side-villains like Shocker and Tinkerer, who play perfectly into Toomes’ story and aid him in all the right ways. This film could’ve easily been another Spider-Man 3 or The Amazing Spider-Man 2 and featured way too many villains who just took up space and time from the main plot and didn’t feel fully developed.
The best part about Spider-Man: Homecoming is just how fresh it really feels. When they started this new era, the hardest job they would’ve had was setting it apart from the previous two franchises. The film is able to perfectly execute this and forge a definitive path forward for the friendly neighborhood Spider-Man.
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EXCLUSIVE: Rhys Ifans Comments on ‘No Way Home’ Return
Spider-Man: No Way Home finally swings into theaters this week and fans are eagerly anticipating not only the ending of the first MCU Spidey trilogy, but putting to rest all the crazy rumors that have swirled around this film for over a year. Promotional material for the film put a rest to any doubts that the film would feature villains from Sam Raimi and Marc Webb’s Spider-franchises as they heavily featured Doc Ock, Green Goblin, Electro, Sandman and Lizard. One doubt that has remained front and center for fans, however, is if Thomas Haden Church and Rhys Ifans returned to play Flint Marko and Curtis Conners, respectively.
Ifans’ Conners proved a key character in The Amazing Spider-Man, not only as the villain but as link between Peter and his father. While the Lizard was an outright villain, Conners was a bit of tortured genius and Ifans played the role well. Ifans is playing another tortured genius, Rasputin, in the upcoming film The King’s Man. Our own Hunter Radesi interviewed Ifans today and asked the actor if he was in fact the man behind the Lizard again for Spider-Man: No Way Home. With a big grin on his face, Ifans responded:
Well you know, like most Christmas presents, the good thing is not knowing what’s in them until it’s time to open them.
While Jaime Foxx and Alfred Molina seemed all too happy to talk about their time in the film, Ifans was definitely a little less forthcoming. With the aforementioned actors returning for their roles, it’s hard to imagine that Sony and Marvel Studios didn’t do everything in their power to bring Ifans and Church back as well. With just 4 days until the film’s debut in theaters, we won’t have to be left wondering much longer.
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REVIEW: ‘The Amazing Spider-Man 2’ Is Great If You Ignore A Lot Of It
Welcome back to 2014. The year was marked by several phenomenal Marvel films including Captain America: The Winter Soldier, Guardians of the Galaxy, and X-Men: Days of Future Past. It had only been a couple of years since The Avengers debuted, so the comic book movie landscape was full of excitement and promise. The Amazing Spider-Man 2 also happened to be released in 2014.
The day before it was released, if you had told anyone that within the next two years the Spider-Man franchise would yet again be rebooted with an entirely new British Peter Parker, you would’ve sounded pretty silly. But then after audiences got the chance to see it, you would’ve sounded like a Sony executive. Full disclosure, TASM 2 is one of my favorite Spider-Man films, because if you ignore all of the bad stuff, it’s actually not a bad movie.
I do think Andrew Garfield is a phenomenal Spider-Man. He’s the funniest, his quips are great, and overall his masked person has the most personality of any live-action Spidey. He also had some great street-level action scenes early on, and they play up the conflict between that and his normal life. This version is actually well-connected to New York City and crime-fighting, unlike a certain Iron Space Avenger Spider (but maybe that’s your thing). However, I will not even suggest that Garfield is an ideal candidate for Peter Parker – whenever someone called him “Peter”, it threw me off. That was a grown 30-year-old man, both literally and in on-screen presence.
How a director with the last name Webb could not land a Best Picture Academy Award nomination for a Spider-Man movie is beyond me. The best guess of why this didn’t happen is a note I jotted down when re-watching the movie: “This plot is dumb.” But sometimes to truly appreciate a film, you have to ignore the plot – that’s just life. With the holidays approaching, the right thing to do is forgive and forget. However, there is no question that the fact that the Rhino fight scene – which played dramatically and was highlighted in every single trailer this movie ever put out – was never even a real scene is absolutely unforgivable and you are right to still be upset about it.
The Amazing Spider-Man 2 was plagued by the “okay, so we just did a whole Spider-Man franchise a few years ago, so how do we make it way too obvious that this is different from those?” disease. Make no mistake, this is not the same as the Goblin disease Harry Osborn had to deal with – what better way is there to enjoy a “different” Green Goblin than to actually make him a goblin? It’s art. But Harry for sure has some issues at the end of the film, the guy looked rough, mostly just greasy, but Greasy Goblin is just angry that introducing his character as some guy that Peter hasn’t seen or talked to since middle school maybe wasn’t the best choice.
“This plot is dumb” because none of the major potential plots seem to belong in the movie. This means that the movie is less of a story and more of a smattering of ideas. But if Jackson Pollock can make it work, surely Spidey can too. I have a hard time deciding if the loose idea of the Richard and Mary Parker story was just bad at face value, or just misunderstood. But after typing that sentence I realized I understand it and I’m pretty sure it’s just bad. In any event, starting the movie with what felt like an hour (it was probably more like ten minutes) of these flashbacks was not ideal. Then, throughout the movie, it’s clear it has no real importance to the actual movie, but Peter will remember it at times so that there can be montages.
The parents’ “plot” really only served to technically create Greasy Goblin via syringe, but yet Greasy Goblin seemed to only be there to … actually, I have no idea why. Perhaps only to technically pretend to be an emo bad boy with Electro for a hot minute – even though I’m pretty sure Electro didn’t actually need help jumping into an outlet – and maybe give Gwen Stacy a slightly more comic-accurate death.
Electro was, in theory, the main villain. He’s easily my favorite part of the movie, both ironically and genuinely. Max is a lot – he’s cringy, awkward, hard to look in the digital eye. It worked well for what the character was supposed to be, but I have no idea how intentional some of it was or if it just worked out in post-production somehow. Obviously, his transformation into a member of the Blue Man Group (but with more eel inspiration) is one of the most memorable things from TASM 2, and yes, it is rough. I’m pretty sure Jamie Foxx actually nailed his performance. But with lines like “It’s my birthday!” as he tries to fry some men, women, and children, it gets hard to tell.
Obviously, at the heart of this movie is the relationship between Peter and Gwen Stacy even if he stalked her way too much. First of all, part of the reason why TASM 2 is secretly good is that they did indeed kill Gwen. Not only does this introduce a darker element from the comics, but at the time it seemed inconceivable that a superhero movie would just (fairly violently) kill off a lead romantic interest, let alone Emma Stone. Unfortunately, the movie spent almost all of its run time leading up to this heartbreaking moment by making sure the two lovebirds were broken up. I’m not sure why that makes much sense, but maybe they needed to make sure they had enough time for Greasy Goblin to have his fake story.
Despite the mess that is the majority of TASM 2, this movie had some gnarly visual effects and a Hans Zimmer score. If you generally only pay attention to these two things, the film is phenomenal. Spider-Man’s swinging and action scenes were stunning. While the action scenes were fun, there were very few. An inappropriately large amount of the movie was spent watching people talk. Still, the final power plant scene was wild. It did not fit the tone of the rest of the movie whatsoever, but it was campy, dramatic, over-the-top, and I had a great time with it. TASM 2 loved its slow-motion, and I remember being in awe when I first saw it in IMAX.
Finally, Hans Zimmer really brought it. More importantly, he really brought it for Electro. I think TASM 2 thought: “how do we make sure people know Electro is Jamie Foxx and that Jamie Foxx also does music?” The answer was for the score to go hard for the character by diving into his head as the music’s base. The Times Square Electro scene, in particular, is a musical playground. It’s so great.
All in all, TASM 2 is just as lovable as the rest of Spider-Man movies, but sometimes love is hard work. The ending of the movie was magnificent, we see Peter’s montage through some dark times only to emerge as Spider-Man again in the city’s time of need. This movie had some of the best Spider-Man swinging and action sequences that currently exist, both in terms of visuals and Garfield being a fantastic Spider-Man. While we will never truly know how The Amazing Spider-Man 3 would have played out, the fact that the mystery of Peter’s parents’ story remains unresolved does not keep me up at night.
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REVIEW: ‘The Amazing Spider-Man’ Is the Perfect Superhero Film for the ‘Twilight’ Generation
The Amazing Spider-Man was always facing an uphill battle. Marc Webb‘s reboot of cinema’s most iconic superhero franchise came on the heels of an upsetting Spider-Man 4 cancellation and was attempting to establish everyone’s favorite wall-crawler for a whole new breed of teenager. It was never going to please everyone, and it certainly lived up to that expectation. The film debuted in 2012 to a stream of mixed reception, with some praising the Andrew Garfield-led film for its modern take on the title character and others ripping it apart as a hollow recreation of Sam Raimi‘s original masterpiece. Upon yet another rewatch, I’ve discovered that the movie, while flawed, may be more misunderstood than actually all that bad. In fact, it may have been the perfect superhero movie for the generation taking over cinemas when it released, even if hardcore fans missed it at the time.
I couldn’t be more aware of the fact every Spider-Man movie has been reviewed to death. Perhaps it would be better to think of this as a retrospective, just a year shy of The Amazing Spider-Man‘s decennial anniversary. Doing this requires an understanding of 2012’s film landscape. Comic book movies had only just truly reached mainstream popularity, and the highest grossing films at the box office were mostly adaptations of young adult novels. Harry Potter and the Deathly Hallows – Part 2 had just dominated the cultural hive mind only a year prior to Amazing‘s release, and one of the only movies to outgross the film in its actual release year was The Twilight Saga: Breaking Dawn – Part 2. Not far behind was The Hunger Games, and although it wasn’t a money-making juggernaut, The Perks of Being a Wallflower managed to capture the minds of 2012’s teens and critics alike. Before long, theaters would be filled with hormonal youth, cash in hand to see movies like Divergent and The Fault in Our Stars on the big screen.
Sure, The Avengers also came out in 2012. However, the impact that film would have on the future of Hollywood and the format of superhero movies could not have been known when Webb and screenwriter James Vanderbilt were crafting the story and tone of The Amazing Spider-Man. There had to have been a reason Sony hired a director best known for his work with romantic comedies to helm their spider-reboot, and it’s because they were creating a new take on Peter Parker designed to appeal to the same masses who would turn out for Katniss Everdeen and Edward Cullen. In this regard, the studio and creative team succeeded.
Andrew Garfield‘s portrayal of Parker is often knocked for being “too cool” and lackadaisical. Yet, he fits right in with the effortlessly attractive and sullenly charming crowd of early 2010’s protagonists. Garfield‘s Peter is not just angry about his life and the deaths of those he loves, he’s angsty instead. His chemistry with Emma Stone, whose Gwen Stacy is still considered a top-tier rendition of the character, is not only incredibly agreeable to watch, but filled with the same pulpable tension as any forbidden teenage love story. The film presents us with two attractive, intelligent characters teeming with lust, who will continue to battle their own fates in an attempt to truly be with each other. That is the crux of the entire plot, a dramatic romance supporting a story that involves giant lizard men and plenty of spandex.
It’s true that this often leads to moments that conflict with the comic book ideals of Spider-Man’s mythology, but it’s no more or less committed to its own bit than the Raimi films before it. Part of the appeal of The Amazing Spider-Man is the way it so desperately wants to birth its own filter for the wall-crawler’s universe. As much as I love the current Spider-Man entries, they do tend to lack the definitive look and feel that the franchises before them managed to achieve. It’s hard to genuinely insult Amazing for its specifically dark coloring and nearly full-blown emo tone when you consider how unabashedly it doubles down on those things. There is not a corny moment that’s any more or less cheesy than some of the comical scenes in revered adaptations likes Spider-Man 2; the difference is that 2012’s goofball actions and dialogue are written for a different audience than the one seated in 2002. When that 2002’s Spider-Man is taken as the standard, 2012’s becomes a hard pill to swallow.
I’m not saying that this movie is perfect by any means. Rhys Ifans puts together an admirable performance as Dr. Curt Connors, but his work is undermined by poor character development. A side story involving Peter’s parents having mysterious backgrounds feels unnecessary and overcomplicated, taking away from Martin Sheen and Sally Field as the best Uncle Ben and Aunt May we have seen on film. Based on his actions, everyone should have figured out Peter was Spider-Man almost immediately. Yet, beneath all the complaints you’ve heard a million times, there’s actually a superhero movie based in love that’s campy in a way only the early 2010’s could have pulled off.
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The Pulse: Collecting the Biggest News of the Week of December 5th-11th
Marvel Rumor Round-Up
As I said on Twitter, we have entered the Wild West age of Marvel Studios’ projects being spoiled. At this point, no spoiler is too big and multiple projects had big spoilers leaked this week. You can check them out here:
- Daredevil will sport his classic yellow costume in She-Hulk
- Corey Stoll will play M.O.D.O.K. in Ant-Man 3 and 3 more films
- The High Evolutionary will appear in Guardians of the Galaxy Vol. 3
Cowboy Bebop Gets Whac-A-Mole’d At Netflix
Netflix’s live-action adaptation of the iconic sci-fi anime series, Cowboy Bebop, is dead after one season. Read our review before it becomes a collector’s item.
Michael, not Kenny, G. to score ‘Thor 4’
Michael Giacchino, who has scored at least a half dozen Pixar projects and a handful of Marvel Studios projects, including all the Spidey films, revealed he is now scoring Thor: Love and Thunder. Wait until you guys find out about his next project for Marvel! It’s a howling big deal.
Let There Be More Venom
Sideshow Amy Pascal confirmed this week, to literally nobody’s surprise, that the studio was developing a third Venom film. The two films have inexplicably built a huge fanbase and made a metric shit ton of money, so a third film, featuring Tom Holland, would probably somehow become the biggest money maker of all-time for Sony.
‘Wonder Woman 3’ Headed for a Potential 2024 Debut
WW director Patty Jenkins has been on, off, in and out of a lot of films recently. A new report from one of the trades indicates that she’s still on Wonder Woman 3 and that it’ll start production in 2023, making a 2024 release date a possibility.
Destin Daniel Cretton Signs a Ryan Coogler-esque Deal with Disney
Shang-Chi director Destin Daniel Cretton signed a new deal with Disney that will see him develop, among many other things, the Shang-Chi sequel and a Disney+ Shang-Chi spinoff.
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REVIEW: ‘Spider-Man 3’ is a Tale of Underperformance
It is said that movies are actually made three times: when writing them, shooting them, and then finally in the editing bay. This process helps solidify what the movie is supposed to be about, striping the project of superfluous details, sequences, or even a couple of redundant plot threads. It works as a bullshit filter, making the final product more concise, streamlining the viewing experience. It’s basically everything a late-night, tequila-induced, fanboy fever dream of a movie pitch isn’t. In that situation, anything goes and there’s room for every single character we can think of, often creating an unbalanced Jenga tower of ideas piled up on top of each other with no real structure to them. All of it is coupled with a vampiresque type of humor, the sort that isn’t likely to survive daybreak. Sadly, that’s the sort of mess that Spider-Man 3 feels like.
Whereas Spider-Man 2 is a great (and sadly rare) example of how to further explore a world beyond an already well-received first movie, Spider-Man 3 feels like an over-filled balloon that blows up in the audiences’ face leaving them with a bad case of tinnitus. It brings so much to the table that you hardly get the time to value each of the separate elements, while also not being one of those cases where the whole is greater than the sum of its parts. Aristoteles would not be impressed
Right at the start of the movie you get the natural progression of Peter and MJ’s relationship as well as Harry’s deep dive into his father’s secret room containing prototypes of Green Goblin’s gear. These threads alone would make for a pretty solid story, building from the relationships explored in the previous movie. The build-up was priming Harry to finally turn into the main villain we all knew he could become. There was no need to bring any more (relevant) characters into the fold unless the aim wasn’t so much making a good movie as it was selling a few more toys.
And so, instead of looking inward, valuing what it already had, Spider-Man 3 looked outward and tried to bite off more than it could chew. In the first ten minutes alone, the movie tries to establish Flint Marko – our future Sandman – and brings the symbiote crashing down on Earth. Soon after we are also introduced to Eddie Brock and Gwen Stacy, characters that never went beyond being a parody of themselves, serving as glorified cameos that could have been easily kept for another occasion. Gwen’s inclusion is especially remarkable since, after all the relationship drama in the previous movies, the decision was to double-down on that by having not one but two love triangles for Peter to be a part of. All with him remaining completely oblivious of how his actions affected people around him, making him incredibly unlikable along the way.
This movie ultimately became a tale of people not being able to do what they set themselves up for. The studio execs couldn’t keep out of the way (their meddling was pretty obvious and only hurt the final product) and the writers couldn’t come up with a consistent story, having to balance an unusually high amount of characters, and subplots. Also … Peter Parker can’t dance, Mary Jane can’t sing, Eddie Brock can’t use Photoshop and Harry Osborn can’t make a freaking omelet!
Above all, Spider-Man 3 just isn’t a fun movie, albeit you can certainly have fun watching it. And that’s one of the only things a Spider-Man movie simply cannot afford to be: dull. But Spider-Man 3 does have one incredibly strong redeeming factor as Stan Lee‘s cameo is probably one of his best, if not the best. “You know, I guess one person can make a difference. ‘Nough said.” I’m extremely happy Kevin Feige got the hint.
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Tom Holland Hopes For Spider-Man to Clash With Wilson Fisk After ‘No Way Home’
Spider-Man: No Way Home finally releases next week. With numerous villains returning from previous Spider-Man franchises there has been a lot of discussion about future adventures for the webhead. Sony producer Amy Pascal has even suggested there is another trilogy starring Tom Holland in the works. Such a rich comic history means there are lots of suggestions out there about where this Peter Parker could go next. Vincent D’Onofrio recently revealed he’s hoping, if those returning rumors turn out to be true, his Wilson Fisk could go up against Spidey at some point in the future. Holland himself has even had a few similar ideas.
In an interview with Fandom.com Tom Holland was asked about some of his ideas for a fourth Spider-Man film could be. He mentions thinking it would be fun to do either an anti-hero version or a low-budget “film about Peter Parker that has nothing to do with Spider-Man.” Both of these suggestions seem in the realms of possibility somehow. His suggestions at a villain are also quite interesting:
I think there are some interesting villains, I think Madame Web could be something that is really interesting and we could do it in our own way. I’d really like to come up against Wilson Fisk.
Tom HollandSometimes fanciful ideas during the promotion of the previous film are worth taking note of to see whether they remerge as genuine continuations of the story. Spider-Man fighting the Kingpin would certainly be an exciting street-level story for Marvel fans. There are numerous rumors about Netflix Marvel characters joining the Marvel Cinematic Universe and Kevin Feige has teased that. It could be the perfect time for Spidey to reorient himself away from multiversal Avengers level threats back down tackling crime on street level.
Source: Fandom.com
