Spider-Man: Far From Home

I briefly considered taking a break from Marvel Studios after viewing the last Avengers film.

It was incredibly intense and seeing another related film shortly thereafter seemed borderline overload; I wasn't sure if I could hack it!

The thoughts weren't too demanding though, just one of the hundreds that float around deep down and then suddenly pop into one's head at random individualized intervals while they trek around town throughout the day, and I eventually found myself ready for Spider-Man: Far From Home for one of its first screenings, with an IMAX ticket no less, purchased for a matinee showing.

And I wasn't disappointed.

Not to heap too much praise on Marvel Studios, and it's important to never rest on your laurels or think you've found that magic touch that works each and every freakin' time, but they do consistently release creative stunning convincing witty films that cleverly blend action, drama, comedy, and science-fiction, to present thrilling tales that'll likely hold up for multiple viewings, for now, and far into the foreseeable future.

Adventure films which made similar impacts were few and far between when I was growing up, which likely explains why I find Marvel Studios's consistency so mind-blowing.

It's like what you used to wait 4 or 5 years for comes out every 3 or 4 months.

And the quality's usually high.

With incredibly deep interdependent storylines.

The new Spider-Man film functions as a spellbinding overconfident-emergent-villain vs. doubt-plagued-protagonist revelation, but it's also a chill coming of age Summer teen comedy, the two thematic thrusts imaginatively seasoned with narrative expertise.

If you want multiple characters developed in varying degrees, there are at least 14 given room to manoeuvre within, and the brisk pace sees them observing and commenting along different youthful and aged lines, as responsibility irritates Peter Parker (Tom Holland), who foolishly thought he was going on vacation.

Happy Hogan (Jon Favreau), Mr. Harrington (Martin Starr), and Mr. Dell (J.B. Smoove [who could have used more lines!]) skilfully present differing variations of the appropriate, proceeding in awestruck error, in situations far beyond their control.

Perhaps the situations are a bit too out of control for a student trip to Europe.

It's sort of like an elite counter-terrorist is still in high school and on vacation with his unsuspecting classmates, who become indirectly involved as he confronts dire globalized ambition.

But their somewhat far-fetched integration does make for some thrilling comedy, as long as you're confident nothing will go wrong, and Spider-Man will enact game changing regional parity.

But will he?

I highly recommend Far From Home for both fans of the superheroic and people looking to chaotically chill.

In the Summer.

The Summertime elements are so thoughtfully interwoven I'll likely watch it every Winter and Summer for years to come, in Winter as preparation for Summer, in Summer since Summer is Summer.

I should say that Marvel Studios brought their A plus plus game to move their Spider-Man films into the Iron Man position.

Thor and the Guardians have their work cut out for them.

Along with Black Panther.

And so many many others.

Laidback cool synergistic overload.

I do love these new Spider-Man films.

Overflowing with raw contemplation.

Finsterworld

Emerging from a state of nature to historically contextualize the present, eccentricity multifariously contesting its conditions, authenticity, percolating its plight, poetic instances of curious introspective creativity contentiously enraging the callous, cruelty and innocence sociopathically and lovingly coexisting, tricks, cancellations, balanced asymmetrical genders, beetles and dress-ups and birds, the conformist's intention to ignore, in Frauke Finsterwalder's Finsterworld, a dynamic open-ended multigenerational cross-section, microscopically invested, with macroscopic instigations.

Interpretively dependent.

Spoiler alert.

World War II's legacy haunts the film and difference, while uplifting it to an aesthetic celestial syntax, in various ways, is often contemptuously reprimanded.

The ethnic school teacher who takes his students on a trip to a concentration camp, focussing on its abhorrence, ends up in jail after rescuing a student who's been brutally pranked, giving in to his perverted instincts in the process.

The African character found in the film's final moments is listless and primitive, as seen when a documentary filmmaker ironically visits Africa in search of the authentic, ironic because her visit's based on the recommendation of her policeperson partner, whom she rejects after he reveals he's a genuine furry.

The other german men who salute difference include a pedicurist who takes the dead skin from his clients and then bakes it into cookies which he eventually serves to them as a treat. When one client admits her love for him, he reveals his secret, which is naturally met with ghastliness, although they do end up together.

A school boy who poetically and comically talks to beetles and puppets made out of his hand, reminiscent of Thomas Törless, is assaulted by a wealthy SUV renting tough guy, after possibly viewing his wife relieving herself at the side of the road. The three become quite friendly, when the man who lives in the woods and has just had his dwelling vandalized and bird friend killed starts firing shots from a bridge at the passing traffic, one of them fatally wounding the boy; as if to say that this young Törless's future would unfortunately resemble that of the humble forest dweller, who has therefore spared him a life of loneliness.

The death and incarceration of these two characters (the forest dweller ends up in jail), as well as the rejection of the furry, are perhaps vindicated by the pedicurist's romance, as an elderly german matron embraces difference, perhaps paving the way for a more inclusive cultural frame.

Perhaps Germany is quite inclusive at the moment, I'm just interpreting the evidence provided by this film.

The younger generation's sociopathic rep who doesn't want to accept World War II's legacy and doesn't speak up to save the ethnic school teacher, even though he was the prankster in question, while torturing his helpless victim further in the aftermath by insulting her intelligence, casts doubt on this possibility.

Which makes for a well-rounded albeit bleak conclusion.

To a depressingly thoughtful and brilliant reflexivity.

Outstandingly controversial film.