SPIDER-MAN: FAR FROM HOME proves Marvel’s formula-breaking *is* their formula

You know when people say “don’t watch this one unless you’ve seen the last one”? Well, that statement may just peak with Spider-Man: Far From Home, particularly when it comes to the Marvel Cinematic Universe.

The ‘one’ in particular isn’t even the previous solo Spider-Man film, 2017’s Homecoming, because the MCU has changed the game when it comes to how sequels work. Homecoming introduced the supporting characters in Peter Parker’s direct orbit but Jon Watts’ precious picture was neither Tom Holland’s first bow as the character, and Homecoming serves as an important part of the ongoing, overarching narrative in the first era of the MCU which concluded recently with the ‘one’ I am talking about – Avengers: Endgame. That’s the film you need to have seen before Far From Home as Watts’ Spider-Man film serves as an extended epilogue to the epic conclusion to the Infinity Saga, not to mention a coda to that first, decade-spanning era.

Far From Home is about the legacy of an era which reinvented exactly what the ‘superhero movie’ was. Marvel Studios, under Kevin Feige’s aegis, took the formula and tropes we had come to know and understand from the previous three decades since 1978’s seminal first Superman adaptation, through a legion of Batman movies and beyond, and subverted them pretty much from the get-go. Robert Downey Jr’s Iron Man didn’t spend half a dozen films hiding his identity as Bruce Wayne did – he came out and told the world right at the end of his origin story. The MCU interweaved characters and narratives to develop the first ongoing, television-style serialised structure in cinematic history. Along the way it brewed up broad comedy, epic action, science-fiction and half a dozen other genres—often within the same films—inside which the traditional ‘superhero’ nestled.

What we have seen in previous Marvel pictures before Endgame, and which Far From Home makes abundantly clear, is that Marvel’s self-aware subversion of that formula has *become* their formula itself.

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From the Ashes: X-Men – The Last Stand (2006)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Brett Ratner’s third film, 2006’s X-Men: The Last Stand

If you ever needed proof of the law of diminishing returns, you could look no further than X-Men: The Last Stand.

Over the years, X3 (as it was never officially known but we will call it for expediency) has developed what could be charitably described as a bad reputation amongst fans of comic-book cinema and indeed fans of Marvel’s X-Men comics themselves. There is no question – The Last Stand is a profound step down from the preceding two films, particularly the strong and layered X2. Brett Ratner’s film is emptier while being crammed with more plot, and more mutants, that you can shake a stick at it. The script is unfocused and at times obnoxious, while Ratner’s direction has none of the poise and subtlety Bryan Singer brought to the previous movies. Several of the key, well-developed characters from X1 and X2 are unceremoniously dumped and numerous key journeys and arcs across those two films are ditched or given short shrift. If X2 was X-Men’s The Empire Strikes Back, this is a poor man’s Return of the Jedi, with 2009’s execrable X-Men Origins: Wolverine probably the Star Wars Holiday Special.

Yet… yet… there is something about The Last Stand which prevents it from being a complete and utter failure. It is perhaps the purest invocation of the kitsch pulp Stan Lee & Jack Kirby gave us in the earliest 1960’s X-Men comics, far more so than the updated, modernised take across Singer’s movies. While churning through at times underwhelming material, key actors such as Hugh Jackman, Patrick Stewart and Ian McKellen are comfortable in the skin of their characters and are visibly enjoying playing them. The Last Stand, in how it pits the X-Men against the Brotherhood of Mutants by the climax, is one of the first major comic-book blockbusters to pit a whole team of super-powered heroes and villains against each other, something we would by now come to expect in many Marvel Cinematic Universe films; indeed, The Last Stand introduces the post-credits teaser sequence before Iron Man in 2008 goes on to steal it and make it a staple of the MCU.

Don’t get me wrong: The Last Stand is not a good X-Men film, or indeed a good comic-book movie. We have, however, seen much worse.

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Avengers: Endgame (2019)

“Part of the journey is the end” says Robert Downey Jr’s Tony Stark at a key point in Avengers: Endgame, a phrase which could neatly punctuate Marvel Studios’ remarkable conclusion to the first era of their Cinematic Universe.

Endgame is a staggering achievement. It is, without question, *the* biggest superhero movie ever made. It makes last years Infinity War look, at times, like an indie movie. Okay, that’s a bit of an over-exaggeration, but there is one sequence in particular toward the climax of Endgame which is just, quite frankly, jaw-dropping in its ambition and scale. It was one of several moments over the next few minutes which had the audience in my screening cheering, whooping and gasping in joy, surprise and the impact of what Endgame provides, and provides in absolute spades: payoff. Payoff to ten years of narrative and character investment from an audience which has grown, some who have grown *up*, with the Avengers.

It therefore comes as a surprise to report that Endgame, on first blush, is not as solid or accomplished a piece of cinema as Infinity War, or Avengers Assemble, or Black Panther, Thor: Ragnarok and certainly the first Guardians of the Galaxy movie. It easily dwarfs every  single MCU movie to date in scope, without a shadow of a doubt, but by its very nature there are structural issues, and problems with certain beats of characterisation, which are going to become more of a sticking point for critical fans once the euphoria and magic of Marvel’s fan service begins to wear off. This is a euphoria I share, by the way, right now, to the point I am itching to see Endgame again very soon.

Endgame is a film which, certain problems aside, will absolutely make you feel a whole range of emotions by the end. If you’re invested, this is a powerful experience.

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Avengers: Infinity War (2018)

Say what you like about Avengers: Infinity War but nobody can deny one thing: it is breaking new cinematic ground. For decades there have been sequels. For decades there have been franchises. For decades we have seen continuing universes on both the big and small screens, sometimes overlapping, develop characters and storylines. Marvel Studios differ in their approach. This is the first time anyone has, over a ten-year period, created and structured a cinematic franchise in the narrative style of a ‘season’ of television.

This is something I have discussed when talking about the Marvel Cinematic Universe before because it has cast a shadow over the mainstream cinematic landscape which is likely to stay for years, perhaps even decades, to come. Kevin Feige, producer supremo, has been the constant here; ever since 2008’s Iron Man turned Robert Downey. Jr from disgraced character actor into the biggest movie star in the world, Infinity War has been the goal. While undoubtedly tides have changed, production realities have emerged, and details have altered, Marvel have been working to a decade-long plan to unite the Avengers against Thanos, the Mad Titan, and his plan to wipe out half the universe with the combined Infinity Stones.

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Black Panther (2018)

Black Panther feels as much like a moment as it does a movie. There has been something transformative about the response to what, in another time and place, might have just ended up as *another* Marvel movie. It’s yet again proof that Marvel are expanding their reach, upping their game, and doubling their odds.

Ryan Coogler’s entry into the Marvel Cinematic Universe, adapting the successful if not widely known outside comic-book circles story of King T’Challa of Wakanda, is the second picture in a row from the comics studio, after Taika Waititi’s Thor: Ragnarok, to feel like the true work of an auteur filmmaker. This has been a balance Kevin Feige’s game-changing franchise has previously struggled with since Jon Favreau’s Iron Man changed the course of blockbuster cinema in 2008; you only have to point to the wreckage of films such as The Incredible Hulk or Thor: The Dark World as good examples of how it took Marvel a while to truly embrace a filmmaker’s singular vision alongside the beats and overarching universal frameworks Marvel have spent a decade building toward, which will reach a conclusion with Avengers: Infinity War this year and its untitled 2019 sequel.

Could it be that the reason both Thor: Ragnarok and now Black Panther are such strong entities within the Marvel family is precisely because they didn’t have to particularly fit that framework? That’s a strong possibility. All Waititi had to do was position Thor in a space whereby he could be slotted back into Infinity War – beyond that he had carte blanche to re-imagine the world of Asgard as a neon, Guardians of the Galaxy-esque, 1980’s retro-futuristic blend of mythology and Antipodean eccentricity, and for the most part it worked beautifully. Coogler has perhaps even greater freedom with Black Panther, allowed as he is to truly develop the internal mythology and world of Wakanda around what isn’t a traditional origin story for T’Challa, given his previous introduction in Captain America: Civil War, but something deeper: a liberal-minded tale of colonial rejection, imperialist globalisation, and the haunting embers of black persecution.

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