Tag: Netherlands

SPIDER-MAN: FAR FROM HOME – Review

Wallopin’ web snappers, that’s one busy lil’ bug. Sorry, arachnid, I know. I’m speaking of our “friendly neighborhood” Spider-Man. In particular, the hero as played by Tom Holland. After all, he was introduced to us only three years ago, when Sony Studios (so very wisely) handed over the creative reigns of the character’s live-action film franchise to the Disney/Marvel Studios. But Sony could still do (and does) spin-offs (like last year’s VENOM) and animated films like the Oscar-winning SPIDER-MAN: INTO THE SPIDER-VERSE. Of course, Holland follows in the spandex boot steps of Tobey Maguire (2004-06) and Andrew Garfield (2012-14). Now the webbed wonder was part of a bigger movie “playground” and immediately swung into the “big brawl” in 2016’S CAPTAIN AMERICA: CIVIL WAR. He got his first solo flick (with a big assist from Iron-Man and an inspired cameo from Cap) the next Summer. And naturally, he was part of the epic Avengers clash with Thanos that concluded about two months ago. Wow, this dude deserves a vacation. So after a harrowing HOMECOMING, here comes SPIDER-MAN: FAR FROM HOME. Do you really think you’ll get a little R&R, young Mr. Parker? Okay….

This globe-trotting adventure starts in a Mexican village that’s the site of a destructive disaster. But not a natural one. That’s why Nick Fury (Samuel L. Jackson ) and Maria Hill (Cobie Smulders) arrive to investigate. Moments after stepping out of their vehicle, the two are threatened by a towering creature. Then out of a green cloud, a caped man mounts a counter-attack. Back in the “Big Apple”, the students of Midtown High are still dealing with the aftermath of “the blip”. That’s their phrase to describe the “Thanos snap”, which sent about half of the student body into a five-year limbo. When they returned the kids hadn’t aged while those not “blipped” did (lots of awkward moments, for sure). Despite that disruption, Peter Parker (Holland) and BFF Ned (Jacob Batalon) are psyched for the Science Club’s big tour of Europe. Ned’s daydreaming of an overseas romance while Pete is hoping to get closer to MJ (Zendaya). That night, as Spider-Man, he helps Aunt May (Marisa Tomei) with a charity fund-raiser for those affected by the blip. Backstage, Happy (Jon Favreau) drops by with a big check, but Pete suspects that he’s there for May (“eeyeww”). Happy warns Pete that Nick Fury wants to talk to him, but Pete sends his call to voicemail. The next day Pete and his pals are on the big flight, first stop Venice. All’s well until another dangerous titanic monster emerges from the canals. Luckily the caped man appears and teams up with Pete. Later he discovers Fury waiting for him in his hotel room. The two go to Fury’s secret base of operations where they meet Maria and the “caped man” who calls himself Quentin Beck (Jake Gyllenhaal), though the local media dub him “Mysterio”. He explains that he came to our Earth through a dimensional rift from his version of Earth (another oddity caused by Thanos). Unfortunately, the monsters that destroyed his planet, “the Elementals” (Earth, water, etc.), followed him. The worst of them, “Fire” is still at large, and Fury wants Spidey’s help. But Pete can’t since he’s with his high school crew (if they see Spidey then they’ll put “two and two together”). Does he think that Fury will take no for an answer? And more importantly, when will Pete get some “alone time” with MJ? Talk about a “long, strange trip”.

Once again, Holland is the perfect embodiment of the beloved pop culture icon. This time though he gets to bring more emotional shadings to Peter and his alter ego. Through his mournful eyes, Holland shows us that he’s still dealing with the loss of an adored fallen friend (better play it safe in case there those unaware of the epic finale of this year’s biggest blockbuster), whose image seems to be everywhere. But then there’s the possibility of romance as Holland behaves like an excited puppy as he plots and plans to “woo” MJ. And there’s the anxiety about having to “step up to the plate” to battle these otherworldly menaces. That’s where Gyllenhaal’s Beck figures in. With his empathetic gaze and somber sense of gravitas, which gives an added punch to his tragic backstory, Beck seems to be the mentor/big brother/ father figure that Peter needs. Plus Gyllenhaal makes a decisive action hero, working that dark magenta flowing cape (a good contrast to his fluorescent green bodysuit) like an old fashioned swashbuckler. Oh, speaking of “father figures”, the cranky demanding “bad Dad” to Beck’s nurturing, encouraging “good Dad” is Jackson in his third “go-around’ this year (!) as Fury. The perpetually P.O.’ ed superspy has no patience for Pete’s teenage concerns and will get his mind on the “right track”, something that Pete really does need. Plus it’s great to see Jackson paired up once more with Smulders as the tough, no-nonsense Hill.

Here’s a nifty full page splash from Spidey’s co-creators in 1963’s Spider-Man Annual #1. Dialogue by Stan Lee. Art by Steve Ditko

While the above-mentioned actors handle most of the big action set pieces of the story, a terrific supporting cast adds wonderful comic relief and some provide the tale’s big emotions. That’s the case with Zendaya who still slays with a snarky insult as the very cool MJ. In this flick, Ms. Z shows us that the air of detachment is a wall she puts up to conceal her true feelings, at times a defense barrier, one that is slowly being taken down, brick by brick, by Pete’s sunny honesty (maybe not about everything). She’s a good action heroine, rather than another “damsel in distress”. Then there’s the always enthusiastic, optimistic Ned played with great comic timing by Batalon whose unexpected subplot yields lotsa’ laughs. Also hilarious is Tony Revolori as the taunting, arrogant Flash Thompson, whose bravado may also be a defense against an inner turmoil (a touch of pathos). Tomei as “Aunt” May is still Pete’s always encouraging supportive anchor, but now she’s his partner, bouncing back from the shock of the revelation at the end of the last film. It’s no wonder that she attracts the attentions of Happy Hogan, played with blustery gusto by Favreau. He and Pete share an affection for her along with a sense of loss for a friend (again, avoiding a spoiler). He could be more of an affable “Dutch uncle” who frets over Pete as often as he’s frustrated by him. There are many inspired “pairings’ in the film, but the funniest may be the class trip faculty chaperones played by the fabulous comic actors Martin Starr (seems like he was just a student on the TV treasure “Freaks and Geeks”) returning as Mr. Harrington and J.B. Smoove (HBO’s “Curb Your Enthusiasm”) as driving instructor from the 2017 promotional short, Mr. Bell.

And here’s the conclusion of Mysterio’s initial appearance on the 1960’s Spider-Man Saturday morning cartoon

Returning director Jon Watts gives us another thrilling superhero epic, though he’s going for a different “vibe” this time around. Unlike Homecoming, he’s not going for the big laughs, often with slapstick “payoffs” in the web-swinging battles. After an opening scene or two dealing with the tragic finale of the last MCU release, the story, aside from the monster attacks, settles into an update/reboot of the romantic teen comedy/dramas of the early 60s, like WHERE THE BOYS ARE, ROME ADVENTURE, or A SUMMER PLACE, with young people falling for each other in exotic locales. But credit screenwriters (also Spidey vets) Chris McKenna and Erik Sommers for balancing the “hearts and flowers” couplings with a plot full of twists and turns, deceptions and determination. Like ENDGAME it dives very very deep into the whole Marvel “movie-verse” to throw us plenty of curves. Unfortunately, the conflict gets a tad tech-heavy, with Spidey almost becoming a computer game avatar in the big London-based climactic showdown. The wallcrawler works best against flesh and blood adversaries like the Vulture (and Kingpin in last year’s animated film) where it becomes a “mano y mano’ battle of wills. Still, there are some remarkable sequences, particularly as Spidey tries to survive a true waking “nightmare” in which his innermost fears spring to vivid ferocious life (and using some creative comics images). The European location work is most impressive (maybe some savvy company will put together a travel tour based on this flick) and the stunt work is astounding (with Pete out of the spandex for a couple of scenes), though that ending may be too visually “busy”. Still, it’s an entertaining, thrilling romp with a mid-credit sequence promising an interesting new direction (of course, you know to stay through the credits). Audiences will be happy that they were caught up in the tangled web of SPIDER-MAN: FAR FROM HOME. Now, where’s that passport?

3.5 Out of 4 Stars

BORGMAN – The Review

BORGMAN_Bedroom: A naked Borgman (Jan Bijvoet) crouches over Marina (Hadewych Minis) as she sleeps in Drafthouse Films’ Borgman. Courtesy of Drafthouse Films.

Most of us think we have a solid grasp on the definition of good and evil. This is good and right, but that over there is so bad and evil. I’m good because I do this, but what they do over there is evil. We like to throw these labels around like they are black and white, carved in stone and not at all subject to interpretation or context. At this, I laugh heartily with the best of intentions. One of the many things I love so much about cinema is the freedom it gives the artist to explore sides of humanity that most of us would otherwise dare not even think of acting out in real life. Nor would most of us ever wish such things on others, but there is something to be said for exploring such things on a philosophical and artistic level instead of avoiding and ignoring the urges and curiosities.

BORGMAN is written and directed by Dutch filmmaker Alex van Warmerdam. The film begins harmlessly enough, with a small mob of angry men and their dogs led by a priest carrying a shotgun. Nothing out of the ordinary. The priest and his posse appear to be hunting a vagrant who has ingeniously dug out an underground home for himself beneath the forest floor, complete with a hidden entrance and furniture. The vagrant’s name is Camiel Borgman, played by Jan Bijvoet, and he will prove to be much more complex than he appears at face value. Camiel is a relatively small, skinny man, filthy and unkempt with long ratty hair and beard. Despite our first impressions, there is something about the way Camile moves and carries himself, right from the beginning, that sets him apart and conveys an unmistakable intelligence.

BORGMAN_Emerging2

Having caught wind of the intruders, Camiel abandons his home and warns his neighboring vagrants as he stealthily retreats from the oncoming threat. He happens upon an upper class home nestled within the woods and takes it upon himself to knock upon the front door. Richard, played by Jeroen Pereval, answers and with perfect politeness, Camiel asks the man if he may take a bath, or even a shower would suffice, as its been ages since he’s had the opportunity. It may come with great shock when Richard refuses, politely enough at first, but this is when things really begin to get interesting. Masterfully improvising as he goes, Camile begins to spin a seemingly believable tale of how he knows Richard’s wife Marina, played by Hadewych Minis. This, of course, reestablishes Richard’s interest which ultimately leads to Camiel receiving a testosterone-fueled beat down from Richard on his front lawn. Shocked and genuinely concerned for his health, Marina feels drawn to help Camile and make up for the barbaric display of masculine pride her husband has bestowed upon him. After all, Camiel appears harmless enough, right?

With each step he takes and boundary he pushes, Camiel reveals more of his true nature. Simultaneously, Marina — an artist — falls deeper and deeper into his spell as we watch her loyalty shift. Meanwhile, Richard’s corporate career is falling apart and their family life is beginning to crumble and Camiel leaves out of boredom. As a crucial turning point, Camiel returns to Marina’s house as their new gardener. He is cleaned up, almost unrecognizable except to Marina. With him Camiel brings a motley crew of fellow confidence artists who share his diabolical taste for manipulating others’ lives and, in some cases, ending them as well. Pascal, Ilonka, Brenda and Ludwig — played by Alex van Warmerdam — are a team of brilliant misfits who thrive on anarchy and deception. As the new gardeners, they begin constructing their intricate design which will forever change the lives of Marina and her family. Equally disturbing, but on a much less noticeable scale than Camiel, is the quietly discomforting performance given by Elve Lijbaart as Isolde, Marina’s blonde-haired white-skinned daughter. Isolde gets credit for the most shockingly unexpected and disturbing moment in the film, revealing that perhaps she too is predisposed to being a sociopath.

BORGMAN_Isolde_Victim2

BORGMAN is rich with dark details and curious notions. Camiel comes across as some mysterious Loki-like deity of mischief, playing with peoples’ lives like so many fragile tin soldiers in a young boy’s toy chest. Camiel operates with a malevolent modesty that is disarming. He picks and chooses those he knows he can control and discards those he chooses not to control, instead toying with them first like setting ants on fire with a magnifying glass. They slowly feel the burn, not knowing the source, then suddenly they are dead. Warmerdam leaves plenty open to interpretation and discussion. While BORGMAN has a complicated but accessible plot, there are many elements that raise questions rather provide answers. Pay close attention to these key moments in the film and enjoy discussing them with fellow viewers afterwards. Few films since PULP FICTION have provided this caliber of debatable cinematic content.

What begins as a dry, quirky tale of a homeless man rapidly escalates and transforms into something more sinister. BORGMAN is often surreal and edgy, never ceasing to surprise the viewer as Camiel gradually unfolds his devilishly wicked wings from beneath his mild-mannered cloak. Such a change might prove too much and over the top, but Warmerdam does it with such subtlety and attention to keeping the tone of the film calm and almost meditative, that the transition from good to evil appears almost seamless and natural. In a sense, BORGMAN attempts to blur the lines between what is good and evil. Marina and those close to her are Camiel’s playthings and Camiel is the filmmaker’s master of puppets in his deadly and seductive game of chess.

If you enjoyed Michael Haneke’s FUNNY GAMES, I highly recommend Warmerdam’s BORGMAN, as it falls somewhere on the slightly less psychotic end of the scale for such films.

BORGMAN opens theatrically in NY on June 6th, 2014 at Lincoln Plaza & IFC Center with an expanded release on June 13th & 20th, 2014

Overall Rating: 4 out of 5 Stars

BORGMAN_Theatrical_Poster