After the mega-event (cinematographic?) That marked the premiere of the last Avengers movie, Marvel was challenged to face a new stage in a universe that seemed to be rebooted. Almost as if they wanted to get rid of the matter quickly, just over two months after the premiere of Endgame, comes Spider-Man: Far from home, the new movie of the most popular character in the M house comics and, perhaps, the new protagonist in this stage of the MCU.
The facts of this adventure happen immediately after what is seen in Endgame and the events of Captain Marvel are also closely related. If you didn't see any of these movies, I would recommend doing it first. Of course, do not read this review if you are not up to date with those events.
While Peter Parker (Tom Holland) is dismayed after the death of his mentor, the entire planet tries to get used to what it is like to live with what they call the blipeo, that is, the click of Thanos that annihilated half of the population in Infinity War and the same one that, five years later, brought them all back without getting old for a day. The first scenes of Far From Home aim to explain this question quite awkwardly. It is intended, as in several other passages of the film, to fill the gaps of the previous films, something that not only appears forced but also. It is completely antinematographic.
The plot introduces us to a Spidey puber who is determined to confess his love to M.J (Zendaya, the best of the film) during the trip to Europe / vacations they will do with the school. For this, the young arachnid has an extremely detailed plan that will be completely frustrated when Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders) - what remains of SHIELD let's say - force him to have to become a hero during his vacations to fight an interdimensional threat that puts humanity at risk. This is where Quentin Beck, AKA Mysterio comes in, an alleged hero-scientist who comes from another Earth in the multiverse chasing a kind of monsters that destroyed his home planet.
I don't want to go much further into the argument. The film is easily spoileable, and to a large extent that you like it or not do it depends on how you take the surprise in relation to the various dramatic turns that the story takes.
For lovers of the genre, Spider-man: Far From Home works, is entertaining and has fun most of the time. He suffers in this case his ATP rating, which generates that all the time we are being verbalized what happens and, as I said before, he sins, almost always, of wanting to fill narrative gaps that do not correspond to him. The cast is the best; The return of Happy (Jon Favreau) is celebrated, Marisa Tomei makes a great Aunt May in the scenes where she has to be and the adolescent interpretations - Ned (Jacob Batalon), Flash (Tony Revolori) and Betty (Angourie Rice) - They are also very good. Special mention should be made of Jake Gyllenhaal, who demonstrates that he is a player of the entire field and that, even going by check, he is much more actor than most of his generation.
Since the staging, some passages are much more successful than others. The entire Mysterio hallucinations segment remind the best of Spider-Man: Into the Spiderverse and the 90's animated series. Other fragments instead are solved with the usual laziness of Marvel movies. At some point the narrative inability that the MCU proves to spin two thoughts without the need to cut with a joke becomes problematic. The resource is effective but not effective, it takes the viewer away from the sense of danger, takes it out of what the characters are living and always takes it to a place of security where one knows that nothing will go wrong.
The most interesting thing about the film is in the relationships between the characters and in the travel structure that works very well, contributes to the idea of comedy, is dynamic and allows us to take the protagonist from New York to see it in other latitudes.
To close I would like to highlight that there are two extra scenes, one of half credits and another at the end. The two scenes are key to understanding what happens in the movie. The first is in fact an unforgivable cliffhanger with a rather controversial goal resource, which can work at first sight, but does not resist even a minimum subsequent analysis. The second is so absurd and disruptive that I can't think of where to start.
Not bad, it disftuta, but it is far from the first two films of Raimi.