This weekend, Peter Parker swings back into theatres, but it’s not Tobey Maguire or Andrew Garfield behind the familiar red-and-black-webbed mask. Instead, for the third time in 15 years the web-slinging role has been recast. This time around, 21-year-old English actor and dancer Tom Holland wears the suit as the star of Spider-Man: Homecoming.
Holland’s extended Captain America: Civil War cameo in 2016 almost stole the show, displaying the character’s bright-eyed, boyish spark but this is his first outing as the title star. So far he’s getting rave reviews. After a recent critics screening the twitterverse lit up.
“Tom Holland is perfect,” wrote one poster, “He’s having the time of his life and it shows.” “I don’t want to spoil it,” wrote another, “but they found a way to make Spider-Man relatable like never before on screen, that’s where @TomHolland1996 shines.”
Spider-Man: Homecoming is poised to hit big at the theatres, breathing new life into a character we all know but it is also a shining example of the old adage, “The only constant is change.” Hollywood loves to reboot movies — we’ll soon see new versions of It, Flatliners and Blade Runner — but while the titles stay the same, the faces change.
Not everyone embraces the changes. When Garfield took over for Maguire in 2012 1234zoomer commented on The Amazing Spider-Man: “IS NOT GOING TO BE THE SAME WITHOUT TOBBY!!!,” (her uppercase and spelling, not mine), but Maguire was gracious, saying, “I am excited to see the next chapter unfold in this incredible story.”
Whether Holland acknowledges Maguire or Garfield is yet to be seen, but at least one replacement had the manners to recognize his precursor.
In On Her Majesty’s Secret Service, 007 No. 2 George Lazenby paid a tongue-in-cheek tribute to the original Bond, Sean Connery. After a wild battle to rescue Contessa Teresa (played by Diana Rigg) the new James Bond didn’t get the girl. “This never happened to the other fellow,” he says, looking dejectedly into the camera.
Connery went on to co-star in The Hunt for Red October with Alec Baldwin playing Jack Ryan, a character later portrayed by Harrison Ford and Ben Affleck.
In 2014 Chris Pine (who also took over the part of Captain Kirk in Star Trek from William Shatner) played the super spy in Jack Ryan: Shadow Recruit. He admits, “We didn’t totally get that right,” but still has hopes for the series. “It’s a great franchise, and if it’s not me, then I hope it gets a fifth life at this point. I hope it’s done again and with a great story.”
The Batman franchise also has had a revolving cast. Since 1943 eight actors have played the Caped Crusader, including Lewis G. Wilson, who at 23 remains the youngest actor to play the character, and George Clooney who admits he was “really bad” in Batman & Robin.
Most recently Ben Affleck, dubbed Bat-Fleck by fans, has played the Dark Knight but probably the most loved Bat-actor of all time is the late Adam West. West, who passed away last month at age 88, admits playing Batman typecast him but says, “I made up my mind a long time ago to enjoy it. Not many actors get the chance to create a signature character.”
The folks behind “Spider-Man: Homecoming,” the second reboot of the web slinging comic superhero following franchises lead by Tobey Maguire and Andrew Garfield, wisely decides not to rehash the Peter Parker’s origin story. We know he’s an orphan being raised by his Aunt May and Uncle Ben when a bite from a radioactive spider caused mutations in his body, granting him the superpowers of super strength and agility.
Been there, done that twice before.
Instead, it picks up the story a few months after “Captain America: Civil War’s” epic airport tarmac battle. After that taste of big league crime fighting with the Avengers, 15-year-old Parker (Tom Holland) returned to normal life as a high school student in Queens, New York, living in a small apartment with his Aunt May (Marisa Tomei).
Mentored by Tony Stark (Robert Downey Jr.) he’s slowly figuring out what it means to be a superhero at night while and Peter Parker, a scrawny science nerd by day. “I am a kid,” he says, “but a kid who can stop a bus with his bare hands.” When he ‘s not fighting crime he’s acting like a teen, building a 3803-piece Lego Death Star with his best friend or getting shy in the presence of his crush Liz (Laura Harrier). He likes Liz but Liz loves Spider-Man. What to do?
It’s just one of many problems Parker encounters as his ambition to become a full-fledged Avenger puts him on a crash course with Vulture (Michael Keaton), a villain with wings and a bad attitude.
“Spider-Man: Homecoming” is easily the best web tale since 2004s “Spider-Man 2.” Director Jon Watts channels John Hughes in the high school scenes, Sam Raimi in the action scenes. There’s comedy and a more light-hearted tone as Parker comes of age as a crime fighter and hormonal teen. Holland finds the right mix of the character’s vulnerability and arrogance, nerdiness and impulsiveness. Together they spin a new web that is the most diverse entry in the Marvel Universe to date and one of the most entertaining.
There are new Spidey toys—his suit now speaks to him à la Jarvis in “Iron Man” for instance—but while cool, the effects aren’t the things that give “Homecoming” a recommendation, it’s the movie’s sense of fun and humanity. It’s a fantastical story about real people. Parker is simply a teen coming to grips with the changes in his body and even the villain is essentially a working class guy who wants to provide for his family. He’s tired of being pushed around so he’s pushing back. By going back to basics Watts grounds the movie in the comic book lore that made the character popular in the first place. He’s not the tortured superhero we’ve come accustomed to seeing on the big screen, instead he’s a regular teen in extraordinary circumstances. How regular is he? Sometimes his crime-fighting escapades are spoiled by after school detention.
“Spider-Man: Homecoming” is over two hours long and, like all other superhero movies, features a CGI heavy climax, but somehow doesn’t feel bloated. It also features the best last line of any Avengers movie and, for once, an after credit scene that is worth waiting for.
In Cop Car, a b-movie thriller about two kids who steal a police vehicle for a joyride, Kevin Bacon plays Sherriff Kretzer, a bad cop short on dialogue but long on menace. It’s an intense role but one that once upon a time the Footloose star would have turned down.
“When I first started becoming an actor I would judge a role by how many lines I had,” he says. “Then, later on, by, ‘Where’s my big scene?’ As time has gone on I’ve really loved the idea of trying to use everything cinema has to offer in terms of helping you unfold the mystery of who somebody is. Sherriff Kretzer is one of those guys who, somehow, even though there is very little being said, I had an image for who he would be. Sometimes it just comes to me.”
Now into an almost four decade long career—his first professional acting gig came in 1978 on the soap opera Search for Tomorrow—he’s come to understand why less is often more on screen.
“Look at something like Diner,” he says. “I didn’t want that part because the guy didn’t say much. I didn’t know or trust that who he was would come through [in the scene where] I was just sitting there watching the college bowl. People talk about that as being the moment where they totally got the guy, but on the page I didn’t get that. I was too naïve to understand that. In the course of my career I have started to realize that the camera sees so much more than we see in real life. It’s not that it just shoots real life, it’s that it goes deeper. You shoot somebody’s eyes, do a close up on somebody’s eyes, and you see things that the human eye can’t see. It actually reaches down into that person’s soul so you’re exposed to something that is deeper and more beautiful.”
Bacon says he and director Jon Watts give audiences everything they need to “metaphorically jump in the car and come along” without over explaining the characters.
The result is a violent film that transcends its b-movie roots to become a story about loss of childhood innocence. “I think it is a surprisingly moving and emotional film,” he says. “I know my wife [actress Kyra Sedgwick] feels that way.”
“Cop Car” is as lean and mean as its name. An unabashed b-movie, it’s a down-and-dirty story about two kids, a desperate con and a cop who really wants his car back. It’s back to basics but loaded with tension and some unexpected moments.
Kevin Bacon plays the kind of corrupt cop who locks people in his trunk and says things like, “Tell me the truth or I will shoot you.” When two ten-year-old boys steal his police vehicle for a joy ride—“What if somebody sees us?” asks one of the kids. “We’ll just say we’re cops.”—they set into motion a deadly game of cat and mouse that will change their lives forever.
“Cop Car” is a smartly made but simple movie that doesn’t rely on fancy tricks to tell its story. Stripped down, it instead assumes its audience are good and moral enough to understand how fraught with danger it is to have two children playing with a loaded gun in the backseat of the titular locked cop car. Desperate to get out they first try and shoot out the window, which doesn’t work. Then they pound on the glass with the butt of the gun, literally inviting the weapon to misfire and injure one of them. There will be no spoilers here, but I can tell you that the sight of these young hands handling the gun is unsettling in the extreme, which, I imagine is exactly what director Jon Watts had in mind.
Bacon is at his white trash best in a role short on dialogue but long on menace and both the young guys James Freedson-Jackson and Hays Wellford hand in naturalistic performances.
“Cop Car” begins as a joyride becomes anything but joyful, and while the story is bleak, it is a bleakly beautiful coming of age story that packs a punch.
By Richard Crouse – Metro In Focus
