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Excluding those people who eat chips and rummage through the bag at full volume, nostalgia and pedestals are the worst companions with whom we can enter a movie theater to watch a movie. They are not only difficult to ignore; they can also condition the viewing experience, blurring the sensations in front of a feature film by bringing comparisons that, in addition to hateful ones, are unnecessary.
'Spider-Man: Homecoming' was, in part, harmed by the long shadow of the fantastic 'Spider-Man 2' - 2004 -, and by the promises that pointed to the ultimate Spider-Man adventure. Although, beyond this, and despite its virtues, Marvel wasted its golden opportunity to return the lost glory to the good of Peter Parker by its own defects such as its inability to free itself from the Shared Universe in which it is set.
With this in mind, expectations of 'Far from home' were not too high, resigning to expecting, just a fleeting amusement that served as an anti-climax to 'Endgame' and paved the way for a hypothetical "Phase 4". Illusive, because Jon Watts, repeating in the direction, has finally given us a delicious arachnid epic, which looks face to face with the classic Sam Raimi and invites us to leave behind all kinds of yearnings to revere the new flesh of the spiderverse.
One of the greatest successes of 'Homecoming' lay in its pleasant and very light tonal bet, and in the way it hugged its referents without any modesty, centered on the legendary films of the institute of John Hughes. Starting from this base, 'Far from Home' offers a very different cocktail that, while maintaining a small part of the brand character of the Hughes house, does not hesitate to bet fully on the adolescent romantic comedy, peppered with an extra humor that works at a thousand wonders.
But the great referential key on which the last of Watts is built is far from what was seen in its predecessor, being, surprisingly, strongly influenced by the cinematographic adventures of James Bond. This is reflected on the international dimensions that the libretto acquires, which unfolds its plot through different locations of the European continent while linking spectacular set-pieces with a tempo that shines equally in the moments dominated by the action as in those dedicated to its protagonists
But this Bondian heritage had to have a not-so-positive reverse. On this occasion, moving away from the general tonic in the superhero films, the Mysterio character of Jake Gyllenhaal is as dedicated, intense and charismatic as usual, and is built with enough care not to clash; but it is in the way in which his motivations are revealed - in a lazy oral exhibition scene, and perhaps self-conscious, typical of an enemy of 007 - where the script shows camouflaged imperfections more efficiently during the rest of the footage.
From staggering comic reliefs such as the teachers who accompany Pete and his classmates across the old continent, to principals like Happy, May or the lovely MJ de Zendaya - fantastic, and sharing a great chemistry with Holland; each and every one of them are at the service of making this coming-of-age progress, in which the British actor reaffirms himself as a perfect Spider-Man; hero and human in equal parts, and with which it is impossible not to identify.
After a couple of hilarious hours, which have been flying and, particularly, after a post-credit scene that marks a huge turning point for the trepamuros, 'Far from Home' has managed to get us excited, make us laugh and applaud and, most importantly, dream that, one day, maybe we can climb a skyscraper with our own hands and be able to see the world from another perspective.
After all, the latter is what makes superhero stories so special.