Venom always knows what to say. No matter the situation he always seems to have a one-liner cocked and ready to go. Following the massive and surprising success despite a universal critical panning of its 2018 predecessor, Venom: Let There Be Carnage, is a sequel that knows exactly what it is. A breath of fresh air in the heavily inundated superhero film culture. Bringing on a director like Andy Serkis, who has possibly the most experience in motion capture performance of any actor, was not only the next logical step but the smartest decision Sony could’ve made. A director like Ruben Fleischer was a decent choice to introduce the character of Venom, but Serkis takes the foundation laid and elevates it to an insane level of zaniness and glee.
Following the events of the first film, Eddie Brock and Venom are the odd couple with a capital “O”. Their relationship is strenuous at best, and at worst a force that can destroy Eddie’s apartment, including a bit involving Eddie’s relationship with a television. All the while, Cletus Kassidy (Woody Harrelson, going full Woody in all the best ways) is about to be executed for his mile-long list of crimes, events transpire, and he becomes the symbiote known as Carnage. Filling out the rest of the cast is Naomie Harris as Shriek, Michelle Williams and Reid Scott returning as Anne Weying and Dan Lewis respectively.
Nowadays, superhero films are always so serious, and the tone of this film spits in the face of all of those films. Trading serious for silly on every level and everyone knows it, and the film works even more because of this. The first film wanted to be serious and turned silly, continuing that trajectory helped solidify the future of Eddie Brock.
P.S. The post-credit scene truly does change the forefront of Eddie/Venom’s story and the forefront for the Sony Marvel characters.
Venom: Let There Be Carnage Trailer
Venom: Let There Be Carnage is currently playing in wide theatrical release.
In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Are we sure this isn’t a John Hughes movie? (Yes, we are.)
Spider-Man: Homecoming is the sixth live-action Spider-Man movie to be produced since 2002. A decade after the original Sam Raimi Spider-Man, and only five years since Spider-Man 3, Marc Webb directed The Amazing Spider-Man, closely followed by The Amazing Spider-Man 2, which performed well below expectations and quickly tanked the burgeoning Sony Spider-Man universe. (For a refresher on Spider-Man rights and Sony, click here.) So, finally, we wind up here: Spider-Man: Homecoming, directed by Jon Watts and starring Tom Holland as the titular web-slinger, finally a member of the MCU. It really did feel like a homecoming, and to have Spidey folded into the MCU proper seemed a much better use of his character than Sony’s floundering attempts to make their own universe (though Marvel being forced to rely on their lesser-known characters such as Iron Man to kick things off certainly helped keep them on their toes as they started this endeavor). But how to differentiate this Peter Parker from Tobey Maguire and Andrew Garfield?
The first answer: ditch the origin story. Have Peter’s parents and his uncle Ben be long dead. There’s no “with great power comes great responsibility”—we got our version of that in Civil War, but from Peter himself: “When you can do the things that I can, but you don’t, and then the bad things happen, they happen because of you.” Everyone had been inundated with Spider-Man origin stories for a decade-and-a-half. Everyone knew Peter Parker’s parents died in a plane crash, and that Uncle Ben bit the bullet afterwards. By respecting the intelligence of his audience, Jon Watts trimmed any excess fat so we could jump right in with Peter (of course, Peter’s appearance in Captain America: Civil War helped, making doubly pre-established by both pop culture at large and the MCU).
Who is our Peter, though? His origin story might be cut, but is he just going to go through the same plot beats as his predecessors? And so we arrive at the second answer: have this Peter actually act like a 15-year-old. Tobey Maguire and Andrew Garfield were 26 and 27, respectively, when they first played their Spider-Man, and by their later entries they were 30 and older. Tom Holland was 19 when he was first cast in Civil War, and his small stature and bit of a baby face let him pass as a high schooler much more easily than Maguire or Garfield. But it’s not just his appearance that makes MCU Peter seem so much younger than his counterparts: it’s him getting excited over a LEGO Death Star, jumping on the bed, awkwardly trying to impress the girl he likes, struggling to look intimidating to criminals, walking down the halls and seeing excruciatingly awkward student news, making a jumprope out of web when he gets bored.
He even starts the film by making a vlog about his time in Germany during Civil War, and if his overeager, fast-talking nature doesn’t immediately win you over, then I don’t know what to tell you. Bright-eyed and bushy-tailed, Peter jumps at the chance to be an Avenger, and even after months of no contact from either Tony Stark (Robert Downey Jr.) or Tony’s head of security, Happy Hogan (Jon Favreau), he still bolts to get into his suit after the last bell rings and leaves long voicemails for Happy detailing the bicycle thefts he stopped that day. The realization that he’s just a kid is almost overwhelming, especially when he’s silhouetted against the enormous backdrop of New York City.
His interactions with Tony and Happy provide the third answer on how the MCU sets their Peter apart: have him immediately connected to the universe at large. This is a solo movie, but it’s one that never lets you forget you’re watching an interconnected world, as Peter spends so much of his time trying to live up to Tony Stark (Robert Downey Jr.). Grappling with the expectations of the adults in his life not only gives Peter a good arc and characters to butt heads with, but also reminds everyone that there is a world outside. (Chris Evans also makes a cameo in his ridiculous, ear-less suit from The Avengers that perhaps eclipses even his Loki impersonation in Thor: The Dark World.)
Peter has been spending a bit too much time thinking about the world outside, though, to the point where he even quits his last remaining extracurricular, the academic decathlon, much to the chagrin of his friend, Ned (Jacob Batalon), and the team captain, Liz (Laura Harrier), whom Peter has a raging crush on. Luckily, the MCU has never been one for secret identities and the long, drawn-out dramatics they entail, and so Ned finds out very quickly about Peter’s double life, though it’s still hidden from Peter’s aunt May (Marisa Tomei) and the rest of his classmates, including bully Flash Thompson (Tony Revolori) and loner Michelle Jones (Zendaya).
Despite Tony’s advice to be a “friendly neighborhood Spider-Man,” we can’t watch Peter eat churros on rooftops all day, and so Peter soon stumbles upon a weapons deal between Jackson Brice (Logan Marshall-Green), Herman Schultz (Bokeem Woodbine), and Aaron Davis (Donald Glover); however, these weapons are no ordinary guns. Peter confronts Brice and Schultz after they pull their weapons on Davis, and a merry chase ensues that lovingly rips off Ferris Bueller’s Day Off.
Soon, however, a Vulture sweeps down from the sky, and Peter gets introduced to the film’s villain, Adrian Toomes (Michael Keaton, who loves playing his bird-inspired roles). Toomes, as with so many Marvel villains, owes his origin story to Tony Stark: he and his salvage company were hired to clean up New York after the events of The Avengers, but when Tony partnered with the U.S. government to assist the efforts, the Department of Damage Control came in and seized Toomes’ job, leaving him high and dry. Toomes managed to steal some Chitauri technology and create weapons with it, and soon found himself wealthy, with high-powered weapons and a big bone to pick.
Peter only makes it out of this confrontation alive because Tony sends one of his suits to help, but he insists on taking down Toomes himself to prove his worth as an Avenger; after various fun sequences, including a delightful montage of Peter discovering all the high-tech things the suit that Tony gave him can do, he follows Toomes to a weapon deal on the Staten Island Ferry. His overeagerness proves his undoing, however, and in his rush to stop Toomes, he foils an FBI raid (one called by Tony) and fails to stop a weapon from slicing the Staten Island Ferry in half, yet again needing to be saved by Iron Man.
The ensuing verbal beatdown between the two is a fantastic little scene, with Downey making the most of his very limited (and very expensive) screentime. When Tony calls Peter 14 and he weakly protests, “I’m fifteen,” he absolutely feels 15 in a way that no other onscreen Spider-Man has. He feels very, very small. “This is where you zip it, alright? The adult is talking,” Tony snaps.
Much of Homecoming’s strength lies in its willingness to not only be a superhero film, but a coming-of-age dramedy; Watts does a tremendous job integrating the life-or-death stakes of Spider-Man’s world with the high school drama of Peter’s world (after all, high school certainly feels life-or-death at the time), and the resulting balance is by and large superb. The MCU is at its best and most creative when it stretches the superhero genre and fits it into new shapes, such as Winter Soldier’s political thriller and here, where Homecoming takes a cue from John Hughes. While the other Spider-Man movies were set in high school, they seem only to acknowledge the fact obliquely; here, Watts neatly marries Peter’s coming to terms with his newfound power with his coming-of-age, making them one and the same. They don’t just happen to coincide, they’re entangled with each other, and it makes for a well-structured, more engaging story. (One that even gives Tony some more depth, too: Peter says, “I just wanted to be like you,” and Tony replies, “And I wanted you to be better.” Tony, go to therapy, buddy.)
And so Tony scolds Peter like the child he is and takes away Peter’s suit. Peter, with nothing else to do, begins to pay more attention to his high school life—he even works up the nerve to ask Liz to the homecoming dance, and she accepts. Things seem to be looking up, if not looking as exciting, for our hero. Until, that is, he goes to pick up Liz for the dance and discovers that her father is none other than one Adrian Toomes, a twist that blindsides both the viewers and Peter himself.
The resulting car ride to the dance, as Peter tries to keep his cool and figure out how much Toomes knows, and as Toomes slowly begins to realize that his daughter’s date isn’t just a nervous 15-year-old, is among one of the tensest scenes in the MCU. Keaton is fantastic, and cements himself among the best Marvel villains (the bar is middling, but still): he easily switches from loving father to merciless killer in seconds, and the flicker in his eyes as he realizes Peter’s true identity—and the stoplight changes from red to green—is eerie. He gives Peter one last chance, though, and offers to let him go if he promises to leave Toomes alone. But with great power comes great responsibility, and so Peter ditches the homecoming dance and goes after his date’s father. (We have pretty firmly left John Hughes territory at this point.)
Vulture, like Michael B. Jordan’s Killmonger in Black Panther, is one of those Marvel villains whom the movie has to go out of its way to establish as a murderous bad guy, because otherwise we would sympathize with them too much. When Peter points out that “selling weapons to criminals is wrong,” Toomes retorts, “How do you think your buddy Stark paid for that tower, or any of his little toys? Those people, Pete, the rich and the powerful, they do whatever they want. Guys like us, like you and me… they don’t care about us. We build their roads and we fight their wars and everything… We have to pick up after them. We have to eat their table scraps.”
Everything Vulture says is true. Were he not been attempting to kill a 15-year-old kid, he would be quite reasonable; in fact, he might even be likeable. Yet the validity of his points goes undiscussed—at least in Black Panther, Wakanda found a way to help execute Killmonger’s dream, just in a different way (though the effectiveness of that way—through United Nations bureaucracy—could certainly be questioned, and how exactly they plan to eliminate oppression remains vague and politically formless); here, neither Tony nor Peter acknowledge the root of Toomes’ grievances. They make him a compelling villain, but it would make for a more compelling film if Toomes’ motivations had any effect on Peter. As it happens, they glance off Peter even though they should force him to do some serious self-reflecting on his mentor, especially as Peter himself comes from a lower socioeconomic background, something which typically informs much of his character. But the MCU version of Peter Parker, helped by wealthy benefactors, largely skates around this issue and never disrectly addresses his financial state; in fact, Civil War does a better job at this than Spider-Man’s titular movie, so what could and should cause inner conflict for Peter only serves to make Toomes a more interesting antagonist, doing nothing for his heroic counterpart.
Even if this dynamic gets underexplored (a frustratingly common theme with Marvel films and their villains, but alas), the mano-a-mano beatdown between Spider-Man and Vulture is exhilarating and anxiety-inducing—perhaps even tear-inducing as Peter, having been buried under piles of rubble by Toomes, cries out for help, and we are once again reminded of just how young he is. If Tom Holland was superb at playing the comedy towards the beginning of the movie, he’s even better here: Peter hyping himself up to push away the rubble by yelling, “Come on, Spider-Man!” is not only a reference to this comicscene, it’s a beautiful encapsulation of his character arc in this movie. Even without his fancy suit, even in glorified pajamas and buried under a mountain of concrete with blood caked everywhere, Peter is a superhero. “If you’re nothing without the suit, then you shouldn’t have it,” Tony tells him earlier in this movie. Well, he certainly isn’t nothing, not anymore. (And yes, it’s very interesting that Tony, who relies so heavily on his suit, is pushing his protégé to be more than one. “And I wanted you to be better” indeed…)
Though charged with the unenviable task of reinventing Spider-Man for the third time within 15 years, Spider-Man: Homecoming rises to the occasion with aplomb, bolstered by a damn good performance from Tom Holland—though the franchise and character comes with a hell of a lot of baggage and expectations, Homecoming meets all of them beautifully, smoothly introducing Spider-Man to a new generation of moviegoers while simultaneously setting itself apart enough to appease older fans wary of another rehash. It’s a Marvel movie comfortable enough in its own Marvel-y skin (and free enough of behind-the-scenes drama) to tinker with the formula a bit, and the result is a joyous romp through adolescence with the added bonus of superpowers. What’s not to love?
Groundwork and stray observations:Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:
The “8 Years Later” title card at the beginning of the movie caused a lot of head-scratching when it first came out. Adrian Toomes was cleaning up after the events of The Avengers, which was in 2012, and so eight years later would mean Homecoming takes place in 2020, which makes zero sense as it’s supposed to pick up right after Civil War, which came out in and was set in 2016. It was only years later that this wasrectified (sort of), and even then… why don’t you just retroactively change the title card to “4 Years Later”? Is it that hard? How did this happen when you have so much money? I could have fixed it, if only Kevin Feige would hire me! I am available, Kevin!
The principal of Peter’s high school, Principal Morita, is the grandson of Howling Commando Jim Morita from Captain America: The First Avenger, whose picture is on the wall in the principal’s office; both are played by Kenneth Choi.
A painting of Howard Stark (the John Slattery version, not Dominic Cooper) is seen in a mural at Peter’s high school, and a picture of Mark Ruffalo’s Bruce Banner hangs in his science classroom.
The guy (Zach Cherry) who yells at Spider-Man to “do a flip” appears in Shang-Chi during the bus fight and busies himself with livestreaming the fight around him.
Aaron Davis is known as the villain Prowler in the comics and is the uncle of future Spider-Man, Miles Morales. (Donald Glover’s appearance is likely a nod to his campaign to become Spider-Man in The Amazing Spider-Man and his voice role as Morales in the animated Ultimate Spider-Man TV series. Here’s hoping the MCU Spider-Man movies bring him back and don’t let Donald Glover go to waste.)
Jennifer Connelly voices Karen, Peter’s “Suit Lady,” and is married to Paul Bettany, who of course got his MCU start by voicing J.A.R.V.I.S., Tony Stark’s “Suit Man.”
Martin Starr plays Peter’s teacher Mr. Harrington, who apparently went to Culver University in The Incredible Hulk. (This is definitely just one of those coincidences that the Marvel heads just kind of rolled with and said that Starr’s character in The Incredible Hulk was just a young Mr. Harrington, just like how Marvel said that of course that kid in Iron Man 2 was Peter Parker all along. Sure, why not?)
Michael Mando’s Mac Gargan, known as Scorpion in the comics, has a rather sinister (ha ha ha) post-credits scene, but nothing’s come of that (yet).
Angourie Rice plays Betty Brant, though I don’t believe Betty’s name is ever said in the movie, but she’s important in the comics.
My friend Hannah is clearly visible as an extra in the gym and homecoming scenes. She probably won’t ever read this and will never know I name-dropped her, but I did.
Anna’s Favorite Scene: I’m cheating and saying three: the Tony and Peter confrontation after the Staten Island Ferry incident (“Oh my god, it’s Robert Downey Jr.!”), Vulture driving Peter to Homecoming, and the “Come on, Spider-Man” scene.
In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Hey, who took the last donut?
Thus far, the MCU has done precious little introspection. The arrival of aliens on Earth, the collateral damage our heroes cause, international laws and politics, all of that has been either swept under the rug or acknowledged only with the wave of a hand, but Captain America: Civil War is here to rectify this. Like Captain America: The Winter Soldier before it, Civil War attempts to be a different breed of Marvel film; while the MCU would crumble if it spent too long looking inward and figuring out the mechanics of its world, it can certainly pretend to do so, and pretend well. If you are looking for an erudite, soul-searching movie about the costs of combat, look elsewhere, but for a theme park ride superhero movie, Civil War does a bang-up job of positing some serious problems, even if its answers don’t quite live up to the questions.
Its titleis a bit of a misnomer. Really, it should be Avengers: Civil War, or at the very least Captain America and Iron Man: Civil War, because it’s really a twofer between Chris Evans’ Steve Rogers and Robert Downey Jr.’s Tony Stark. Marketing revolved around “Team Cap” or “Team Iron Man,” and the hype around this movie was perhaps even stronger than for Avengers: Age of Ultron. It was more than just a Captain America movie, it was an event that wouldn’t change just one character, as was the case with most other non-Avengers Marvel efforts, but whose effects would reverberate through the MCU at large.
The Civil War comic only features the barest similarities with its movie counterpart (it relies heavily on the existence of secret identities, which have very little presence in the MCU, and in the aftermath, a brainwashed Sharon Carter kills Captain America and then stabs her own womb to get rid of her unborn child, so there is quite a lot more going on here), but the showdown between Captain America and Iron Man is integral to the plot (this shot from the film is based off this comic cover), and to attempt an adaptation without Iron Man, or to have Iron Man’s presence lessened, would be nigh impossible, yet that was what our favorite interfering overlord Ike Perlmutter sought to do.
Initially, Tony was going to have a smaller role, but Downey and his team lobbied for a bigger one; this apparently angered the famously frugal Perlmutter so much that he ordered Iron Man to be written out of the script entirely over fears of a ballooning budget. Kevin Feige, hell-bent on making Civil War the spectacle it should be, became so upset that he apparently toyed with quitting, and it was this kerfuffle between Perlmutter and Feige that finally caused Disney CEO Bob Iger to restructure Marvel, shunting Perlmutter to the side and centralizing Feige’s power. This move would ease restrictions on cast and crew, opening the doors for films such as the female-led Captain Marvel and the zany Thor: Ragnarok; since Perlmutter moved and his Creative Committee was disbanded, Marvel has allowed much more creative freedom or has gotten much better at making its talent keep their mouths shut. Either way, it’s hard to view Perlmutter’s departure as anything other than a success—as I have discussed, his outdated and offensive views on gender and race hampered Marvel, and it’s easy to see how (by and large) the MCU has only gotten better since it escaped Perlmutter’s clutches.
Once the dust settled, Robert Downey Jr. emerged with screen time nearly equal to that of Civil War’s titular Captain America, and while this may seem incongruous with the fact that this is supposed to be a Captain America movie, Downey does such tremendous work here, and Tony has such an interesting arc, that it’s hard to be that mad at returning directors Joe and Anthony Russo or Marvel veteran screenwriters Stephen McFeely and Christopher Markus.
After the catastrophic events of Avengers: Age of Ultron (flying city, hordes of murderbots, etc.), public scrutiny has been turned on the Avengers. It becomes especially critical when what should have been a routine mission in Lagos—aka downtown Atlanta with a yellowish filter slapped over it—goes horribly wrong and winds up killing 23 civilians. This, coupled with a confrontation with a grieving mother (the immensely talented Alfre Woodard, who would go on to play Mariah Dillard in Netflix’s Marvel offering Luke Cage) whose son was killed during the events of Age of Ultron, sends Tony Stark spiraling as his ever-present guilt and self-loathing rear their heads again, and so when Secretary of State Thaddeus Ross (William Hurt, who is the first actor from The Incredible Hulk to reprise his role and prove that Marvel doesn’t want to sweep it entirely under the rug) approaches with the UN-sanctioned Sokovia Accords, which would put the Avengers under the oversight of a UN panel, Tony is the first to sign.
It’s quite a remarkable turnaround from the man in Iron Man 2 who said such things as, “You want my property? You can’t have it!” and “I’ve successfully privatized world peace” at a Senate hearing, yet it fits seamlessly into his arc. The arrival of aliens and the existence of threats such as the Chitauri completely altered Tony’s worldview, saddling him with PTSD and resulting in the creation of Ultron, because Tony believed that no one else would be better equipped to protect the world than himself. When that backfired spectacularly, giving Tony proof that, contrary to what Steve Rogers may believe, the safest hands are not his own, and that he can’t be trusted on his own because everything he touches turns rotten. And, as always with Tony, there’s an intensely personal element to this as well now that Tony has pushed Pepper (Gwyneth Paltrow) away again: “A few years ago I almost lost her so I trashed all my suits. Then we had to mop up Hydra. Then Ultron, my fault. And then, and then, and then. I never stopped. ’Cause the truth is I don’t wanna stop. I don’t wanna lose her. I thought maybe the Accords can split the difference.”
Steve’s ideology, on the other hand, has always been consistent. He is an embodiment of our anxiety over the post-9/11 surveillance state (where Iron Man represents a very different post-9/11 American chutzpah and desire for a swift end for terrorism and safety), and his faith in institutions has understandably grown thin: first he’s a dancing monkey for the United States government, then a pawn for S.H.I.E.L.D., then learns that S.H.I.E.L.D. has secretly been his old enemy Hydra the entire time. Steve has never gone through a true character arc like Tony has, because his strength of moral character is already such that it’s hard for him to improve, and so to make his character dynamic you have to throw him in hot water and place him among those whose moral compasses might be a tad shakier: it was Hydra in Winter Soldier, and here the Accords present the conundrum. Steve refuses to sign, and thus the Avengers’ Civil War begins. To the film’s credit, it really does try to focus on the MCU’s internal politics and lays out decent arguments for both sides of the Accords debate (even though it is ostensibly Captain America’s movie), avoiding condemnation as best it can.
The real trouble doesn’t begin until there’s a bombing in Vienna at the signing of the Accords, and everything points to one James Buchanan Barnes (Sebastian Stan) as having been the perpetrator. This prompts a worldwide manhunt: Steve and Sam Wilson (Anthony Mackie) race to get Bucky before the authorities do so Steve can protect his oldest friend, the UN wants to bring him in for questioning, and a certain Prince T’Challa (Chadwick Boseman) of Wakanda wants to kill Bucky as revenge for the explosion that killed his father, T’Chaka (John Kani). There is a very fun chase scene in Romania that involves Steve, Bucky, and T’Challa all handily outstripping the passing cars and Bucky flipping onto a motorcycle in a way that captured the minds of many a teenage girl around the world (myself included), but it ends with the three heroes apprehended by the UN.
Remarkably, this is the first big action sequence in the film and it doesn’t come until about 45 minutes in, which has got to be a record for Marvel. Civil War is perhaps the least action-heavy MCU entry so far, only having three notable fight scenes (four if you count brainwashed Bucky vs. everyone else), none of which are against more than six people; for being all but an Avengers movie in name, it certainly bucks the trend of fighting innumerable faceless foes, and that’s a welcome change of pace.
Boseman, of course, nails his introduction as T’Challa. Both he and the character he plays would go on to become revered figures, not only due to the cultural impact of Black Panther finally arriving on the screen, but because T’Challa, through Boseman’s performance, is such a commanding presence from the first: he’s a powerful and regal king, but still a fallible human being battling with grief and a desire for vengeance. His quiet scene with Zemo at the end is a beautiful moment that, despite his little screentime, cements T’Challa as iconic far before the release of his solo movie. “Vengeance has consumed you. It’s consuming them. I’m done letting it consume me.” (And he gets to run fast and beat up fellow superheroes to boot. What’s not to love?)
Back in UN custody, things seem to be going alright—Tony even almost convinces Steve to sign the Accords until he lets slip that he’s keeping Wanda Maximoff (Elizabeth Olsen), the inadvertent creator of the destruction in Lagos, under lock and key with Vision (Paul Bettany) at the Avengers compound—until the psychiatrist assigned to analyze Bucky speaks the trigger words implanted in his brain by Hydra and sics him on the rest of the Avengers after drilling him about a mission report from December 16, 1991. Turns out this psychiatrist is actually Helmut Zemo (Daniel Brühl), a former member of the Sokovian military whose family was killed during Ultron’s attempt to drop a city-meteor on the world in Age of Ultron. Zemo will go on to become a fan favorite in The Falcon and the Winter Soldier, but here he is all cruel and cold calculation setting out to topple the powers that killed his family, and the personal nature of his issues with the Avengers gives his actions more weight than most Marvel villains. He is also the only villain besides Thanos to succeed at his goal. (Of course, the threat of Thanos eventually brings the gang back together again, but Zemo’s villainy certainly has more repercussions than, say, Malekith’s evildoings.)
And topple the Avengers do. Determined to exonerate the last remaining thread connecting him to his old life, Steve goes after Bucky, accompanied by Sam. When Bucky reveals that other genetically enhanced Hydra soldiers exist, Steve assumes that Zemo means to wake them from their cryogenic sleep and use them to destabilize the world’s governments, and so the three set out to stop him. They enlist Wanda, Hawkeye (Jeremy Renner), and Ant-Man (Paul Rudd), but find the path barred by those who supported the Accords: Tony, Rhodey (Don Cheadle), Black Widow (Scarlett Johansson), T’Challa, Vision, and some kid with web shooters called Spider-Man (Tom Holland).
The ensuing fight in an empty German airport is simply an excuse to show off all the characters’ cool powers and acts as little more than fanservice, though if you’re like me, it’s certainly enjoyable fanservice, though the reasons for its existence are flimsy at best. But Ant-Man becomes Giant-Man, Spider-Man swings around and does backflips, Black Widow and Hawkeye duke it out, et cetera, and it provides a good deal of fun. Marvel has finally gotten their hands back on some of their most valuable IP, dammit, and they’re not going to let it go to waste.
Spider-Man, of course, has a long history on our movie screens, starting with Sam Raimi’s original trilogy in the early 2000s, continuing with two Amazing Spider-Man movies with Andrew Garfield before that endeavor was aborted, and finally winding up here in the MCU proper. Having sold off their rights to Spider-Man before the MCU, Marvel was forced to make do without him at first while Sony continued to try and pump the character for money; with the recency of The Amazing Spider-Man duology (2012 and 2014, respectively), not to mention the Raimi trilogy (Spider-Man 3 was only 2007), it seemed unlikely there would be a third reboot of the character within less than two decades.
That is, until the infamous Sony email hacks from 2014 revealed that… maybe? But then talks broke down and people forgot about it, though some were hopeful that, given Spider-Man’s prevalence in the Civil War comics, he would be a presence in its adaptation. Rumors continued to swirl, though as some rightly pointed out, Civil War the movie could work just fine without Spider-Man. The rumors were tantalizing nonetheless: the MCU had been built off the back of lesser-known heroes, but what would happen when they finally got their hands on Marvel’s most iconic character?
Well, it turns out the speculation didn’t last long, and Sony and Marvel reached a deal to share Spider-Man, with Peter Parker’s first appearance in Captain America: Civil War.
The Sony/Marvel relationship has been very contentious, and Sony’s desire to expand into their own Spider-Man universe confuses things immensely. While everything seemed to be going smoothly at first, things broke down in 2019, after Spider-Man: Homecoming and Spider-Man: Far From Home had already come out, and it seemed like Tom Holland’s Spider-Man would be no more, and Peter Parker would be relegated to Sony’s Marvel Universe—not to be confused with the MCU at large—which so far only consists of 2018’s critically panned but financially successful Venom. This caused a brief meltdown among fans (myself included) before another agreement was reached, which pulled Spider-Man back into the MCU, but also allowed him to visit some of Sony’s other offerings. Probably.
It’s all very vague, but Sony’s upcoming Morbius—which looks just absolutely dreadful—features Michael Keaton’s Vulture, who first appeared in Spider-Man: Homecoming. All in all, it’s a very confusing deal, one which will only continue to muddy the MCU canon upon the release of Morbius and Sony’s upcoming Spidey-related slate. Disney and Marvel’s steady amassing of IP is concerning from an artistic standpoint as they continue their stranglehold on the entertainment industry, subbing recognizable IP for capital-A Art, but, you know… there’s something to be said for simplicity and streamlining. At the very least, some clarity would be appreciated. (Yes, if it must be said, I vote in favor of axing the Sony Spider-Man Universe and folding it all under Marvel and continuing the agonizing death of independent cinema. Yes, a not-insubstantial chunk of this desire is the fact that I do not want certified creep Jared Leto to be in the MCU proper.)
Despite the treacherous road to his MCU debut, Spider-Man shines in Civil War. It helps that Tom Holland actually looks like a high school student, unlike Tobey Maguire or Andrew Garfield, and this Peter Parker radiates a charm that is decidedly boyish in energy. This is just a kid—a very strong and a very smart one, but a kid nonetheless. Even though Spider-Man could have been excised from the Civil War plot with no consequences (he’s really just there because it’s all about increasing that Marvel brand, baby!), his presence gives an infectious jolt of energy to the proceedings and provides a great source of humor in a film that, for Marvel standards, is practically dour.
But where Spider-Man gets some great moments in Civil War, you know who doesn’t? Sharon Carter (Emily VanCamp). I have previously lamented Sharon’s wasted role in the MCU, and it continues here. Judging from concept art, she was supposed to have been a part of the big airport battle, but in the finished product does exceedingly little. The kiss between her and Steve doesn’t work because Markus and McFeely spent so little time developing Sharon as a person that it reads as a character beat they were forced to hit rather than something that came about organically, so of course fan response would be tepid (at best, and harassment at worst—take a gander through the fandom side of Twitter or Tumblr and you will find some truly vile and downright misogynistic takes about Sharon, though the “stan” corner of the internet is mind-numbing to begin with). And yes, I will continue to pick this bone until it snaps, because it is frankly infuriating. Sharon’s writing in the MCU has been and continues to be lazy, though—as with Winter Soldier—it seems the easiest thing in the world to slot her in on “Team Cap” and give her a more substantial role other than “designated love interest” who gets “strong woman” qualities such as fighting prowess so Marvel can pretend they’ve written a good female character. I will, in fact, stay mad. (If you think this is bad, wait until Avengers: Endgame.)
After the two sides, sans Sharon, fight it out, Steve and Bucky escape to Siberia to catch Zemo and those who didn’t sign the Accords get shipped off to the underwater prison known as The Raft. Rhodey, having been inadvertently injured by Vision, gets over his paraplegia very quickly with the help of fancy Stark technology. The brief disability representation was nice while it lasted, though it never really got started. Tony realizes that Bucky has been framed for the UN bombing, gets Steve and Bucky’s whereabouts from Sam, and goes rogue, ignoring Secretary Ross’s wishes.
Yet when the three of them arrive in Siberia, they discover that Zemo hasn’t let out Bucky’s fellow superhuman assassins. In fact, Zemo has killed them all while they were in cryosleep. He never intended to unleash them on the world, only lure Tony, Steve, and Bucky here so he could end the Avengers that ended his family. “An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.”
But how to topple an empire full of superheroes? You can’t beat them physically, so you appeal to their emotions. Tony has never been entirely emotionally stable even at the best of times, especially when it comes to his latent feelings of guilt and even more so when it concerns his relationship with his parents, and Steve has shown that he’s willing to go to the ends of the earth to protect Bucky, so the revelation that Bucky not only killed Tony’s parents on December 16, 1991, but that Steve purposely withheld this information from Tony, is the perfect storm that throws these unshakeable Avengers into a tailspin. The ultimate showdown isn’t about the Accords themselves, but Tony’s grief over his parents, his guilt over his failure to express his love for them, Steve’s drive to protect the only old friend he has left, and the clash that these conflicting desires cause.
Civil War is perhaps Marvel’s most personal movie. In the end, it’s just Steve, Bucky, and Tony, duking it out in an abandoned Hydra base in Siberia. That’s about as personal a finale you can get at Marvel, and it anchors the final confrontation in frighteningly understandable human impulse: it’s not the world ending, it’s just yours, and sometimes that can feel even worse. There are no Chitauri or robots, there is no Hydra or Mandarin, just two friends (and a brainwashed assassin) that hurt each other in different ways.
While it certainly makes for an affecting climax, the pivot to an intensely personal battle means that the political nuance that Civil War set itself up for gets left by the wayside: Tony and Steve’s differences on the Accords become forgotten in the wake of the revelation about Tony’s parents, and so any true ethical examination of said Accords gets tabled for another day. Civil War discards that which made it unique in the first place—attempting to address the ramifications of its predecessors—in favor of a more personal approach that, conversely, makes the film more unique than standard MCU fare, so we are at net zero. Both impulses are welcome in the MCU, but perhaps they would have worked better in separate films, rather than one replacing the other. Still, in a somewhat homogenous cinematic universe, you get credit for trying, and Civil War uses its solid performances and character beats to elevate itself to the upper echelons of the MCU.
The effects of Civil War are all but gone after the first act of Avengers: Endgame, and the existence of the Accords has, so far, barely changed a thing about how these heroes operate, but Civil War almost makes the illusion of change real. It certainly affects Avengers: Infinity War, where our heroes’ divisions keep them apart and ensure their loss, but otherwise, while the Accords’ existence makes Civil War one of the more compelling Marvel movies, they remain largely inconsequential. Marvel was never going to seriously examine the political ramifications of its heroes’ existence because the foundations of its universe would collapse, but it was certainly nice to pretend for a while.
Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:
This marks the first appearance of The Raft, which will pop in and out of the MCU whenever they need a place to store a villain for a while in case Marvel wants to reuse them.
Certain Avengers: Endgame set photos sent everyone into a tizzy about how Tony’s B.A.R.F. (binarily augmented retro-framing) technology would come back into play and help the team find hints about the Infinity Stones or whatnot. This did not happen.
Natasha says, “You could at least recognize me” when fighting Bucky, leading some fans to speculate that future MCU movies could expand on their relationship—in the comics, they have a storied romantic history that begins when Natasha was first in the Red Room and Bucky was brainwashed by the KGB—but alas, this never happened, and so Natasha was only referencing The Winter Soldier. If Marvel had gone down this route, though, it would have been easy to elaborate on this.
It’s hard to think of specific groundwork/easter eggs when the whole movie is basically setting up what’s to come: it introduces Black Panther and Wakanda, Spider-Man, Everett Ross (Martin Freeman), reintroduces Thunderbolt Ross (no relation to Everett), splits the Avengers for Avengers: Infinity War, sends half of the team on the run, etc. There aren’t that many offhand references to things that will come down the line: they’re all in plain sight.
Anna’s Favorite Scene: “Can you move your seat up?” “No.” That’s not really a whole scene, though, just a couple lines, so my favorite scene might be T’Challa stopping Zemo from killing himself. It wonderfully encapsulates T’Challa’s arc in this movie, and is an affecting and quiet moment before the big Cap vs. Iron Man beatdown.
Cherry is the first effort from Joe and Anthony Russo after achieving superstardom with their work in the MCU. This film was highly anticipated, and most have panned the film. Cherry is based on the semi-autobiographical memoir from Nico Walker, and follows Tom Holland from a college student, where he meets his future wife, Emily, played by Ciara Bravo, to serving in the Army and witnessing death and destruction on a level that few have witnessed. After all of this trauma, he returns home and becomes addicted to hard drugs along with his wife.
This sort of story has been told before. Someone comes back from war and has negative side effects to what they saw. What sets it apart from the others is the style that the Russo Brothers. They approach the film not as much from a character perspective but the audience, they put the audience in the shoes of the Russo Brothers, they want the audience to see what they saw as they were making it. It is an interesting perspective, and one that I found worked for what the Russo’s are trying to convey.
Tom Holland and Ciara Bravo, who gained some recognition for her supporting role in the short lived TV show “Wayne”, are brilliant and heartbreaking in their roles. Tom Holland was clearly trying to shed the “Peter Parker persona” he gained stardom for, and does it well, all the while showing the world that he can be more than the iconic web-slinger. Ciara Bravo is fantastic, and her chemistry with Holland–electric.
One of my favorite DP’s working today, Newton Thomas Sigel, shot the film, and provides some brilliantly executed scenes, especially during the Iraq sequences. With beautiful wide-shots, he never goes too close until absolutely necessary. The few flaws I have with the film are minor technical aspects, including a few aspects of the screenplay that I just could not follow and few that did not make sense, however they aren’t fatal enough to destroy the film, just enough to take me out of it. The narration is my main issue, it is so in your face and brash in moments that it felt like a TV movie, however the moments that did this were very few and far between. The Russo’s crafted a heartbreaking journey as well as a great analysis on society’s treatment of veterans and what can happen when they aren’t taken care of after their service to this country.
This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: Cherry & Pelé. Then they look back 100 years to three 1921 Feature Films: Orphans of the Storm, Destiny, and The Phantom Carriage.
This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: The Trial of the Chicago 7 & Shithouse. Followed by The Devil All the Time, Sibyl, and the VIFF 2020 Official Selection Siberia.
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As far as getting new releases, this year bites. It’s a good thing the streaming platforms all had full banks to deploy. Admittedly I’m still not all that enthused with Netflix originals, but the output has been steadily improving these last few years. This particular release captured my interest with it’s Appalachia aesthetic and emphasis on story.
The story covers a range of characters, places and time periods. I found it reminiscent of when films strove for artistic quality on top of pure entertainment. I was hooked all the way through. It moves along at a slow pace. In each situation we see the fates of these characters come to fruition. Fate is the keyword. As you feel the momentum build up to a crescendo, you also come to realize the title itself bears good meaning. For all the faith a person can have, their inner demons always rear their heads. This is an involving and thematically rich tale full of betrayal, lust and suspense.
There’s a great cast. Each does an excellent job justifying the part they play. Tom Holland leads with his most raw role to date. You feel for him instantly once he comes on screen as a young man shaped by tragedy and trying to get by in gritty surroundings. This is another reliable turn out by Robert Pattinson as a borderline mad preacher. You also get a scuzzy Sebastian Stan, Jason Clarke being creepy, a brief turn from Mia Wasikowska and more. It’s the kind of movie where I loved getting to know the characters and watching them come together.
On the technical side, the production design was convincing at realizing this setting. In a rickety looking past that’s full of character. The cinematography delivers too, lingering on moments of heavy emotion and moving with life when things get lively. The soundtrack and score help sell the immersion of its time period. It’s the kind of movie where I wouldn’t mind seeing a normal day go on in this community.
There’s some fleeting bits of action when the emotions and suspense start to peak. These sequences are well executed, building up to the absolute edge before ending as fast as they start. The one nitpick I have is you can see where they edit a frame out to sell a punch better. Still there are some hard hitting beat downs. Scenes with guns fare much better with an emphasized realism on the violence. The blood and make-up effects are good. Don’t take this as saying its action at every turn. When conflict arises, it feels natural and is appealing in how grounded it is kept.
If this were on physical media, I can see myself picking up a copy. The Devil All the Time is a solid character drama that takes you on a good haul with a flawed and vulnerable ensemble. The world the film paints around them, one of misinterpretation and corruption, is one I found enjoyable to get engaged with.
“Losing all the preconceptions that I had about storytelling, about the world, you know, and learning to see the world from a different perspective. It sounds romantic, but it’s not an easy process at all.”
This week on Drink in the Movies Michael & Taylor discuss their First Impressions of a duo of Netflix Releases in The Devil All the Time & I’m Thinking of Ending Things. Followed by the Titles: An American Pickle, She Dies Tomorrow, and Waiting for the Barbarians.
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