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Tag Archives: Spider-Man
The great promise of Agents of Shield and Netflix’s Defenders series was the idea that these shows would examine what happened when The Avengers weren’t around to save the day, in the spaces below their notice. The pitch went that these shows would dig into the meat and potatoes work of facing down threats in a world where aliens attack, as well as the street-level problems that can’t be solved with energy blasts and theater-shaking explosions. But while each of the MCU’s television series have done their share of noble work, they’ve rarely felt connected to their cinematic brethren. Rather than exploring what it means to live in the shadow of Marvel’s biggest heroes, more often than not, these shows feel as though they exist within their own separate worlds.
Enter Spiderman: Homecoming, a film devoted to exploring the lives of people who live under the pedestal that Tony Stark and The Avengers occupy. Despite Spider-Man’s dive into the fray in Civil War, Homecoming spends most of its runtime with Peter Parker (Tom Holland) yearning to be more than a momentary part of that super-team. The nascent web-slinger feels like he’s on the outside looking in and not significant enough to rate much attention from Tony Stark (or his driver, Happy Hogan, who’s the “point man” on the Spider-Man project). But the script, credited to a six-man team, smartly parallels Peter’s sense of being beneath his idols’ notice with a villain who’s motivated by the sense that the Starks of the world don’t care about the little people like him.
Before Anthony and Joe Russo were directing superhero movies, they worked on a little show called Community about a group of misfits at a community college. The series, oddly enough, had a surprising amount in common with The Avengers. Both were about seven people from different backgrounds who bounced off one another in interesting ways, carried their own unique psychological baggage, and who would still, now and then, come together and do amazing things.
One of the most remarkable things about Community was its mastery of tone. The series was pitched as a comedy, and true to that billing, it was a funny, creative, and occasionally off-the-wall show. And yet it could just as easily shift into something quiet and personal, something unremittingly dark, or even something difficult and complex that lacked the sorts of easy answers seemingly required of all network sitcoms. The Russo brothers brought the same incredible ability to mesh different tones and characters to Captain America: Civil War and translated it onto a much bigger stage without missing a beat.
Because Civil War is hilarious, action-packed, and all kinds of fun. It’s has tons of inventive sequences and fights big and small that are filled with humor and imagination. But at the same time, Civil War is, in its own way, a very dark film about fear, regret, anger, a deep divide and a personal loss. It touches on big ideas like moral responsibility, individual guilt for broader actions, and the dangers of power without boundaries. The film, however, grounds these ideas in its well-developed characters, intimate individual moments, and personal relationships. It’s a smorgasbord of different scenes and settings and moods that can make you laugh, gasp, and feel the tragedy of a given moment, without letting these varying tones clash. And that is one hell of an achievement.