Tag Archives: Robert Downey Jr.

Wonder Boys (2000, Curtis Hanson)

Wonder Boys has a very messy third act. The film takes place over a weekend, Friday afternoon to Sunday afternoon; it’s the annual writers conference at an unnamed Pittsburgh university, which kicks off some of the film’s events, lines up some other ones, but is really just an excuse for exposition. It’s fine—it’s great exposition—but it’s somewhat redundant because lead Michael Douglas narrates the whole movie anyway. The film’s about how and why Douglas ends up playing hooky from the conference, even though it’s never clear how involved he was supposed to be. Douglas’s professionalism, which is at least seems ostensible at the beginning of the film, slowly evaporates as events start getting… weird.

Unfortunately the first thing to get weird is super-cringey. The film’s from 2000 and it doesn’t think it’s being transphobic and it actually gets somewhere very interesting with the subplot, but… it’s super-cringey. And kind of makes the three generations of Wonder Boys—Douglas, Robert Downey Jr., Tobey Maguire—seem like dicks. It makes Downey icky when he’s supposed to be lovable.

Downey’s Douglas’s agent. They both got famous when Douglas wrote his first (and only) novel. He’s been working on his new one for seven years. It’s over two thousand pages. Maguire is one of Douglas’s students; his best student, who already has a finished novel. And is really weird. He’s not so much moody as peeking at the world from his Nietzschean hole in the ground. The film’s at its best when Douglas and Maguire are bonding. It’s at its funniest when Douglas and Downey are mugging. It’s got the most potential when Douglas is canoodling (or trying to canoodle) Frances McDormand. McDormand is the chancellor of the school. She’s married to Richard Thomas, who’s the chair of the English department and Douglas’s boss. Douglas and McDormand are in love. Douglas’s wife has left him that very morning for unrelated martial strife; McDormand just found out she’s pregnant. Maguire might be suicidal (the movie drops this one hard, like it doesn’t want to take the responsibility). Downey’s about to lose his job (but doesn’t care so it’s a throwaway subplot; also he’s—unfortunately—a glorified guest star). There’s a lot going on.

Throw in stolen movie memorabilia, a blind dog, Katie Holmes as Douglas’s student and lodger who thinks she understands her grandpa-aged crush, and a stolen car. Not to mention Douglas’s unseen wife, who hangs over the narrative but has absolutely no presence. It’s impossible to imagine Douglas married, not to mention anyone else living in his de facto flophouse. Beautifully designed de facto flophouse, but flophouse nonetheless. So the ethereal wife is a problem. And Holmes is a problem. She’s trying to make time with Douglas and he’s aware but completely disinterested. He likes women closer to his own age—McDormand’s only thirteen years younger versus Holmes’s thirty-four. Presumably the phantom wife is somewhere in middle. But Holmes, who either gets to be really insightful or really thin—she’s flirting with Rip Torn, who’s—you know—forty-some years older—never seems to realize Douglas isn’t into her that way. He’s not into her any way. It’s hard to believe they live in the same house.

The film doesn’t exactly have plot holes, it just often has soft plot details. Director Hanson and screenwriter Steve Kloves gloss over things they shouldn’t, then somehow lose track of what the film’s supposed to be doing. During the second act, it falls completely in love with the supporting cast—Maguire in particular, which is fine and dandy because Maguire’s great—but then it chucks him in the third act to bring Downey back in. Okay, Downey’s really good, really fun (not great because he doesn’t have the part), but… wasn’t Maguire supposed to be important. Then it turns out Downey’s not important. What’s important is something the film’s had the opportunity to focus on and hasn’t. Intentionally avoided it, actually, which maybe is supposed to be a metaphor for pot-addled Douglas’s indecision—the film’s also got some really dated pot politics—but it’s a miss. Douglas is phenomenal and a great protagonist, but his narration doesn’t add anything to the film. The occasional smile, the tiniest bit of context for some exposition or another, but there’s never anything important in it.

Especially not after Douglas loses his agency in the third act.

But the script’s still good. It’s a complete mess, plotting-wise, but the scenes are great. The pacing is great. And Hanson knows how he wants to shoot the conversations. There’s a lot of beautiful direction, with outstanding photography from Dante Spinotti. Cool but warm photography, intense but natural. It’s a great looking film. Dede Allen’s editing is great, especially since Hanson’s composing these wide Panavision shots and the cuts between angles ought to be jarring. They’re not. They’re perfectly timed. Sublimely timed. Solid music from Christopher Young, mostly emphasis stuff. There’s a great soundtrack for the film, including an original Bob Dylan song. Though it’s hard to imagine any of the Wonder Boys listening to Bob Dylan.

Going through the acting again. Douglas and Maguire are phenomenal. McDormand’s great. Downey’s good. Rip Torn’s fun. Holmes gets a crap part. Richard Thomas gets cast way too perfectly as a cuckold.

Wonder Boys is, problems and all, outstanding. It’s just frustratingly close to exceptional and when Hanson and Kloves so completely bungle the third act… it takes some real damage. But it’s still outstanding though. And Douglas and Maguire’s performances are exceptional… the parts just don’t end up being so.

3.5/4★★★½

CREDITS

Directed by Curtis Hanson; screenplay by Steve Kloves, based on the novel by Michael Chabon; director of photography, Dante Spinotti; edited by Dede Allen; music by Christopher Young; production designer, Jeannine Oppewall; produced by Hanson and Scott Rudin; released by Paramount Pictures.

Starring Michael Douglas (Grady Tripp), Tobey Maguire (James Leer), Frances McDormand (Sara Gaskell), Robert Downey Jr. (Terry Crabtree), Katie Holmes (Hannah Green), Rip Torn (Q), Richard Knox (Vernon Hardapple), Jane Adams (Oola), Alan Tudyk (Traxler), and Richard Thomas (Walter Gaskell).


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Avengers: Endgame (2019, Anthony Russo and Joe Russo)

Avengers: Endgame had the ending I was hoping for, but maybe not necessarily the right ending for the movie. And it’s only got one. If Endgame has any singular successes, it might be in its lack of false endings. It does a lot of establishing work, sometimes new to the film, sometimes refreshing it from previous Marvel movies. Endgame is the twenty-second “Marvel Cinematic Universe” movie; you probably can get away with watching thirteen of them and getting the story. And maybe not all the ones you’d expect. And not always for the best narrative reasons, not given where it takes some of its characters.

The film opens catching up with Jeremy Renner. Even before the company logo. He missed the last outing because of something in another one of the movies. Not one of the Avengers movies either. Anyway. Renner, despite being really effective in the first scene, is a red herring. He’s there immediately for texture and structurally for when he comes back later on. Because first things first, after all. Given the way the previous movie (Infinity War) ends, there’s some anticipation. There’s some big action in the prologue too, some big team-ups, some nice moments. But it’s really an epilogue to the previous film. In fact, there’s even a cliffhanger moment they could’ve used to split them. Only no, because then the movie jumps ahead an arbitrary amount of time. Arbitrary in how it effects the narrative, but so specific you’ve got to think there’s some reason. Maybe for the twenty-third Marvel movie. Or the thirty-third.

The movie uses the jump ahead to allow for a new ground situation. Sometimes it’s drastic, sometimes it’s not. Even when it’s a theoretically big change, it doesn’t necessarily do much to change how the character functions in the film. Maybe it gives them some angst or whatever, but everyone’s got angst after the last movie. It only affects behaviors in a few. The rest… well, they’re a little thin. Screenwriters Christopher Markus and Stephen McFeely do an amazing job writing good scenes for the actors, but not good subplots for most of them. There are some disconnects between script and direction here, particularly with Chris Hemsworth. Markus and McFeely’s script gives him a lot of possibility and directors Russo have zero interest in pursuing it. Shame thing goes for Mark Ruffalo. He gets more to do than ever before, but never any good scenes to himself. Renner and Scarlett Johansson end up somewhere in between. They’ve got material, they get time for it… it still comes off a little too perfunctory.

In theory, Endgame’s two leads are Robert Downey Jr. and Chris Evans. Downey gets the most to do in the film and it’s a fantastic performance. It’s his movie, as much as it can be any actor’s movie. Meanwhile, the script doesn’t give Evans quite enough to do, even though it frequently has him around things to do. Markus and McFeely actually don’t give Evans an arc for the film. Him, first tier guest stars Brie Larson and Don Cheadle, Ruffalo, no actual character arcs. It’d be disappointing if it weren’t a movie about a bunch of superheroes time traveling to save the world.

The time travel goes back into the other movies, but doesn’t get too nostalgic about them. It’s nice Endgame can get traction out of the three locations, as they’re locations because of narrative detail not dramatic potential. There are a couple good action sequences in one of them, some wasted material for Hemsworth, some wasteful material Downey makes into gold, some old footage reused then CGI’ed to get another “name” guest star in the end credits, a major plot development for third act repercussion, and a too flat melodramatic moment. And a bunch of good acting, good directing, excellent CGI, and whatever else.

Endgame couldn’t get better, technically speaking. Everything directors Russo need to do, every shot, it all works. There’s a lot to keep moving. It gets kind of monotonous after a while, as the film’s ambitions are all about getting its story told, getting all its connections made, all its references echoed, all its characters in the right place for when the actors’ contracts run out. There’s no time to make wide filmmaking swings, but directors Russo don’t even seem interested in trying. They’re more than happy to leverage an old movie beat to get the job done.

Especially if it’s at Hemsworth’s expense. Especially Hemsworth’s.

There aren’t any bad performances. Downey’s the ace. Then Evans or Paul Rudd. Rudd’s better than anyone but Downey when he’s getting introduced; he’s momentarily the lead then he’s background. He ends up with even less to do than Renner. But Evans is in the whole movie. Ruffalo’s fine. There’s nothing for him to do. Hemsworth seems more than capable so it’s weird how little he gets to do. He’s fine. Johansson’d be better if she didn’t end up losing her arc once Renner’s back. There’s a moment where it seems like she’s going to give a really good performance. Instead, she’s fine. Good in comparison to others, when adjusting for all the film’s factors. Cheadle’s good with his stuff, which is mostly background noise. Karen Gillan gets a big arc, at least in terms of narrative importance, but loses it. She’s okay.

Gwyneth Paltrow is back for a bit. She’s good. It’s not a lot. But she and Downey get their magic going as needed.

Bradley Cooper’s great as the CGI raccoon’s voice.

As for Josh Brolin, whose villain was the whole show in the previous Infinity War? The CGI, motion-captured mean blue giant thing still works and Brolin’s fine, but… he’s got a thin part this time out. Technically lots to do, all of it really thin.

Endgame succeeds in being a well-acted, well-made, and well-written (enough) conclusion to the “world-building” done by the previous twenty-one movies. It just might have been nice if it tried to do anything else. Anything at all.

2.5/4★★½

CREDITS

Directed by Anthony Russo and Joe Russo; screenplay by Christopher Markus and Stephen McFeely, based on the Marvel comics created by Stan Lee and Jack Kirby; director of photography, Trent Opaloch; edited by Jeffrey Ford and Matthew Schmidt; music by Alan Silvestri; production designer, Charles Wood; produced by Kevin Feige; released by Walt Disney Pictures.

Starring Robert Downey Jr. (Iron Man), Chris Evans (Captain America), Mark Ruffalo (Hulk), Chris Hemsworth (Thor), Scarlett Johansson (Natasha Romanoff), Jeremy Renner (Clint Barton), Karen Gillan (Nebula), Bradley Cooper (Rocket), Paul Rudd (Scott Lang), Don Cheadle (James Rhodes), Gwyneth Paltrow (Pepper Potts), Brie Larson (Carol Danvers), and Josh Brolin (Thanos).


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Avengers: Infinity War (2018, Anthony Russo and Joe Russo)

Avengers: Infinity War has quite a few significant achievements. Special effects, for example. But the two most salient ones are Josh Brolin’s performance (of a CG character, no less) and the pacing. Directors Russo and screenwriters Christopher Markus and Stephen McFeely do an extraordinary job juggling the large cast and various storylines, which start splintered, then come together. But it’s the tension is the thing. The film opens with the introduction of a countdown clock, with the literal fate of the universe in the balance–the introduction’s both to the audience and the majority of the characters–and with that threat, the countdown is always present. There’s always more tension they can ratchet as things get more and more dire. It culminates in big finale, of course, with lots of moving pieces needing to sync up for that finale to work. But the most impressive thing is when, at around an hour and fifty minutes into the film (which runs two and a half hours, albeit with a questionable ten minute end credit sequence before the Marvel movie post-credits teaser), it becomes obvious they aren’t going to have time to wrap it up. The film’s so good at maintaining intensity, so good at latching on to the characters’ determined hopefulness, when defeat becomes visible and probable… it’s a shock. Even though there can’t be much other outcome, given the movie can’t really go on forever, can it?

Even if one of the big finale twists is a bit of a cheat since it relies entirely on something the audience (not to mention the characters) have any idea is possible.

Of course, what’s possible is what’s in question in Infinity War. Giant blue space alien (Brolin) is searching for six “infinity” stones, which–explained in a first act lecture to the audience (and Robert Downey Jr.)–will allow him to remake reality. Brolin starts the movie fighting with Chris Hemsworth out in space, but then goes off on his own storyline–arguably the film’s most successful, though it’s got limited competition and is the only consistent arc (thanks to Brolin’s shockingly good performance). How Brolin’s not just able to bring depth to the CG giant–which has far better CG than when Mark Ruffalo hulks out–also in terms of how he never gets caught up in the gooniness of the whole thing. Directors Russo play the whole thing straight–one of their greatest touches is treating Infinity War like an impromptu trip through the galaxy–but it wouldn’t work without Brolin. Everyone else who has to deal with the gooniness? Well, either it gets worked through like with Downey, Tom Holland, and Benedict Cumberbatch or utterly avoided like with Chris Evans and Scarlett Johansson. Hemsworth is somewhere in the middle. He spends most of the movie with Bradley Cooper’s CG wiseass mercenary raccoon and straightfaces it through the gooniness. Everyone else in his scenes is CG (they also bring along the talking tree “voiced”–or audio filtered–by Vin Diesel).

Anyway. With Brolin, there’s gravitas in the fantastical alien stuff. With Downey’s plot line or Evans’s, there’s not. Even with Downey on a space ship hurtling through hyperspace (presumably, otherwise the Marvel universe is real small), no one wants to get too bogged down with the logic. Hemsworth, hanging out with Cooper and the rest of the Guardians of the Galaxy crew, acknowledges the existence of the fantastical without wanting to deal with it. It’s a wise move from the filmmakers. The Russo Brothers get better performances out of Galaxy regulars Chris Pratt and (especially) Zoe Saldana than their feature movies ever suggested possible. Though Pratt’s still way out of his depth opposite Downey, which is made even more clear when Holland and Cumberbatch are able to keep pass. With Holland even surpassing Downey, in no small part thanks to Downey’s acquiescence. They have a wonderful rapport.

The storylines follow the ostensible Avengers “big four”–Downey, Hemsworth, Evans, and Ruffalo. Though Ruffalo is just moving through where he’s playing second fiddle. First it’s to Hemsworth, then to Downey, then to Evans. Ruffalo’s fine and likable as ever, but… Infinity War goes far in showing, while Ed Norton might be regretting the profit sharing, he didn’t miss out on any great acting opportunities with the franchise.

Evans also ends up supporting other storylines, like Paul Bettany and Elizabeth Olsen trying to figure out how they’re going to survive the movie. Bettany is an android superhero (though he’s a distressingly weak android superhero in Infinity War) who has one of the rocks Brolin wants in his head. Olsen’s the woman who loves him; she’s also a superhero and the only one who can destroy said stone to save the universe, if need be. Evans protects them? He brings along sidekicks–Johansson, Anthony Mackie, Don Cheadle, and eventually Sebastian Stan–to help, but even they get a little more to do. Johansson bonds with Danai Gurira (after Evans and company become second–or third–fiddle to the Black Panther cast), Mackie and Cheadle have some rapport. I guess Stan doesn’t really get anything. But then neither does Chadwick Boseman, who’s the actual Black Panther. He’s scenery.

And then they get Ruffalo lumped in too because… the movie doesn’t actually need him. It’s kind of shocking how good the CG works with Brolin’s character versus Ruffalo’s Hulk. I know I mentioned it already, but it’s really striking.

Anyway. Hemsworth teams up with Pratt, Saldana, and the other Guardians team members who get almost nothing to do in the film–especially not after their first scene confronting Brolin; an Infinity War needs cannon fodder, after all. He’s got his quest with the CG Guardians and some fun moments with Cooper; Peter Dinklage shows up at some point in there too.

Then there’s Downey, who’s got Holland and Cumberbatch with him as they hurtle through the galaxy for a showdown with Brolin. They think. They eventually team up with the Guardians cast, leading to those scenes where we have to pretend Pratt can hold his own opposite Downey. Oh, right. It’s after Pratt can’t hold his own opposite Hemsworth and every single character in the movie makes fun of him for it. Good scene, but whatever.

So a lot going on. Because then there’s also Brolin’s whole arc, which involves adoptive daughter Saldana (he took her in after killing her mother and half the population of her planet). Lots going on, all at once. When the movie gets to the third act and all the storylines are going fullsteam–Brolin can instantly teleport between them, which helps to streamline–it’s truly astounding what editors Jeffrey Ford and Matthew Schmidt manage with their cutting. The film has a rhythm to it already, but they’re able to rev it something spectacular for the finish. Infinity War is a technical marvel. No pun.

Alan Silvestri’s score even recovers from the first act, when it’s focusing on repeating franchise themes.

Performance wise… Brolin’s best. Then Downey. They get the most to do. Their showdown, for instance, hints at some great nemesis possibility. The movie’s just too big (and already too long when they get together) for it. Then Holland? Holland doesn’t get a lot to do after the first act, especially not once Pratt and company join his storyline, but he’s always great support for Downey and he’s got the film’s best single scene (for a non-CG actor, anyway). Then Hemsworth. Because after Hemsworth everyone is fine, but not particularly standout. Though Saldana, Bettany, and Olsen all have some rather good moments; Saldana because it’s opposite Brolin’s CG giant alien, Bettany and Olsen because they’re able to ooze chemistry even though Bettany’s caked in red body paint.

Evans, Boseman, Cumberbatch, whoever. They get their jobs done. The movie doesn’t task them with a lot and always implies if they got another scene or two, they’d be quite good. The rapport between Johansson and Gurira, Cheadle and Mackie, whoever. The film implies potential, but keeps it in check because the trains have to run on time.

Even Pratt’s fine. Karen Gillan’s still not good. And the movie doesn’t do poor Pom Klementieff any favors.

Just getting to the finish line with Infinity War is a win for directors Russo and the screenwriters. Getting it to the finish line with so much good stuff along the way… the film’s a lot more successful than should even be possible, given it’s so seeped in franchise continuity and bloated with characters. The filmmakers nimbly hop through it all. Because, frankly, they get to leverage it all with Brolin’s singular, phenomenal performance.

3/4★★★

CREDITS

Directed by Anthony Russo and Joe Russo; screenplay by Christopher Markus and Stephen McFeely, based on the Marvel comics created by Stan Lee and Jack Kirby; director of photography, Trent Opaloch; edited by Jeffrey Ford and Matthew Schmidt; music by Alan Silvestri; production designer, Charles Wood; produced by Kevin Feige; released by Walt Disney Pictures.

Starring Josh Brolin (Thanos), Zoe Saldana (Gamora), Robert Downey Jr. (Tony Stark / Iron Man), Chris Hemsworth (Thor), Benedict Cumberbatch (Doctor Strange), Chris Pratt (Peter Quill / Star-Lord), Paul Bettany (Vision), Elizabeth Olsen (Wanda Maximoff / Scarlet Witch), Mark Ruffalo (Bruce Banner / Hulk), Tom Holland (Peter Parker / Spider-Man), Chris Evans (Steve Rogers / Captain America), Bradley Cooper (Rocket), Scarlett Johansson (Natasha Romanoff / Black Widow), Dave Bautista (Drax), Pom Klementieff (Mantis), Tom Vaughan-Lawlor (Ebony Maw), Carrie Coon (Proxima Midnight), Terry Notary (Cull Obsidian), Michael James Shaw (Corvus Glaive), Chadwick Boseman (T’Challa / Black Panther), Karen Gillan (Nebula), Danai Gurira (Okoye), Tom Hiddleston (Loki), Don Cheadle (James Rhodes / War Machine), Peter Dinklage (Eitri), Benedict Wong (Wong), Anthony Mackie (Sam Wilson / Falcon), Sebastian Stan (Bucky Barnes / Winter Soldier), Letitia Wright (Shuri), Winston Duke (M’Baku), Idris Elba (Heimdall), Gwyneth Paltrow (Pepper Potts), Benicio Del Toro (The Collector), and William Hurt (Secretary of State Thaddeus Ross).


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Spider-Man: Homecoming (2017, Jon Watts)

If Spider-Man: Homecoming isn’t the best film with six credited screenwriters, it’s got to be near the top. Additionally, the film’s got director (and one the Sinister Six–wokka wokka–screenwriters) Watts, who kind of manually binds the film together scene by scene. There’s so much different stuff going on–darker than expected villain Michael Keaton’s subplot, which is a “what happens when a psychopath loses his day job” origin, Spider-Man Begins, and a high school movie. The first two interconnect, the second two interconnect, but it’s a lot going on at once. Not to mention Robert Downey Jr. being shoehorned in for franchise purposes.

Watts, through his direction of the actors and the pacing of the scenes, keeps it enthusiastic but never too enthusiastic. The studio credits having the old “Spider-Man” cartoon theme is actually as far as it gets towards too self-aware. Keeping it grounded makes the “Spider-Man excitedly climbing buildings” sequences entertaining. It’s Spider-Man’s enthusiasm, not the film’s. It’s Tom Holland’s enthusiasm.

And Spider-Man: Homecoming is all about Tom Holland. Keaton gets to do his villain arc on his own for most of the movie and it’s flashy, but it’s a small part. Holland’s in every other scene (except when he’s Spider-Manning to save people or to stop criminals). He’s got Avengers training with Downey and Jon Favreau (who looks miserable), he’s got high school with Jacob Batalon, Laura Harrier, and Zendaya, he’s got friendly neighborhood crimefighting, he’s got home with Marisa Tomei. The script balances all of it pragmatically and impersonally.

Homecoming always errs on the side of narrative payoff. Even though everyone implies the potential of letting loose, only Batalon gets anything near the chance and it’s incredibly muted. The film’s focused on Holland’s story and goals, so much the things going on alongside him–Tomei, Harrier–are left out. Except when the script picks back up with them, there’s no gap. Quick, effective expositions, good acting, and Watts’s meticulous narrative distance to Tom Holland, it all comes together. And Homecoming, which has Chris Evans cameos, laser guns, suburban superhero action, Downey, stunt cameo casting, a terribly bland but competent Michael Giacchino score, and everything else–oh, the Ferris Bueller’s Day Off homage–it has so much.

Yet Watts keeps it together. Because he keeps it on Holland and it never seems like a pressure. Holland’s character development arc is a subtle one too. He usually just has to bake it into other scenes, with the script never getting too far into it. Homecoming doesn’t imply things often and it’s very careful when it does; it knows it’s a franchise picture with a familiar IP and it only wants to do what it wants to do.

But since it is a franchise picture, there’s also a lack of urgency. Everything feels very safe. Keaton feels restrained. Not sure letting him loose on a villain kick would result in a better performance, but he’s still holding back. The bad guys in Homecoming are never bad enough to hurt regular people, which sometimes too contributes to the “safe” feeling.

Though it allows a pointless but amusing Donald Glover cameo.

Excellent special effects. Salvatore Totino’s photography is simultaneously warm and crisp, letting the film toggle between thrills and light superhero angst, but it also provides a great backdrop for the CGI. You have to stop and reminds yourself the leaping figure isn’t Holland.

Homecoming finally figures out how to let the actor “playing” Spider-Man give a full performance as Spider-Man. Because Watts and Holland.

All the acting is good. Downey’s doing a schtick at this point, but likably. It’s a PG Downey in a PG–13 movie. Batalon and Harrier are great. Bookem Woodbine’s good as one of Keaton’s goons. Tomei’s good. Zendaya is likable. She’s got nothing to do but she’s likable. Besides appearing miserable to have agreed to appear, Favreau’s fine. Enough. He underplays an underwritten part.

Keaton’s fine. Kind of good. Never bad, but never anything too special. The script gives him a “little guy trying to survive” thing to do and Keaton can do it. It’s just not a great part. It’s effective and it’s only supposed to be effective.

And Holland’s amazing.

Given its production history (involving Marvel, i.e. Disney, producing a film at Columbia, i.e. Sony, to work it into the Marvel movie continuity), not to mention six credited screenwriters, and being such a familiar film property at this point, Spider-Man: Homecoming starts out with a lot it seems to need to do and a lot it shouldn’t do.

The film does everything it should and nothing it shouldn’t and never in a rush. Nothing’s perfunctory. Homecoming sets up Keaton, then it moves on to Holland, and it just does the movie.

Excellent result from Watts, Holland, and everyone else’s efforts. Except Giacchino. One of Homecoming’s early hurdles is succeeding in spite of Giacchino’s boring score.

3/4★★★

CREDITS

Directed by Jon Watts; screenplay by Jonathan Goldstein, John Francis Daley, Watts, Christopher Ford, Chris McKenna, and Erik Sommers, based on a story by Goldstein and Daley and the Marvel comic book by Stan Lee and Steve Ditko; director of photography, Salvatore Totino; edited by Debbie Berman and Dan Lebental; music by Michael Giacchino; production designer, Oliver Scholl; produced by Kevin Feige and Amy Pascal; released by Columbia Pictures.

Starring Tom Holland (Peter Parker), Michael Keaton (Adrian Toomes), Marisa Tomei (Aunt May), Jacob Batalon (Ned), Laura Harrier (Liz), Zendaya (Michelle), Tony Revolori (Flash), Jon Favreau (Happy Hogan), Martin Starr (Mr. Harrington), Bokeem Woodbine (Herman Schultz), Logan Marshall-Green (Jackson Brice), and Robert Downey Jr. (Tony Stark).