The expectations were immense. They will be filled for who will see Spider–Man. Without return (VF of Spider-Man: No Way Home) soon, without having read anything (or as little as possible, even if it is a challenge) on the subject; and for those who love the idea of seeing everything that has been posed in the previous seven films wrapped and tied into one giveaway film.
Full of references, Without returnindeed multiplies the winks at an “avalanche-like” rhythm in the direction of the striking trilogy (if we exclude the third part) of Sam Raimi (with Tobey Maguire), of the underestimated diptych of Marc Webb (with Andrew Garfield ) and the first two parts of Jon Watts’ trilogy (with Tom Holland), of which this feature film is the (very likely) conclusion. Better yet, the film also looks towards the future of the Marvel Cinematic Universe (yes, that can be scary).
Disclosers abound on the Web, but adding more is out of the question here. Let’s just say that Without return starts immediately where it ended Far from his own, as Mysterio revealed to everyone that at the civil registry, Spider-Man was a teenager called Peter Parker. The fallout from this revelation is felt from the first images of Without return : his identity revealed and false intentions being attributed to him, Peter sees all his life, without and under the mask, going into a spin.
He then turns to the Dr Strange (Benedict Cumberbatch, still perfectly deadpan) to use his magic to make the whole world forget that Spider-Man is Peter Parker – and vice versa. Except that things are getting out of hand and nothing is going well. It was necessary… to have a film, and because the time has come to use the potential of this multiverse whose fragments appear in the Marvel Cinematographic Universe since the beginning of phase 4. Let us think among other things of the series WandaVision,Loki and What if…? ; and the next cinematographic opus, Doctor Strange in the Multiverse of Madness. Which has been moved to the UCM timeline, which premieres on May 6 and is directed by Sam Raimi. Another ball return to Spider-Man?
Beyond the anecdote
We know this, because it was used as a promotional tool: the villains Spidey faced in previous films are back in Without return. But the scenario of Chris McKenna and Erik Sommers goes much further: this story, which could have remained on an anecdotal level and made a false good idea, has heart and head.
The writers come full circle with certain moments left in suspense and tick off with sensitivity “boxes” hitherto left empty, but essential to the full development of the character. Impossible not to be moved when (hush…), not to burst out laughing when (chut-bis…) or not to jump for joy in your seat while (hush-ter…). Beyond the surprises and appearances, there is therefore a solid story here that explores a superhero unique by his youth and his benevolent side.
Visually impeccable (special effects are high level), performed by actors and actresses who inhabit their characters like a second skin (Tom Holland is both endearing and tragic; Zendaya is stunning in MJ; Marisa Tomei is a perfect May in its difference; etc.), Without return comes back and reflects on Peter Parker’s original principle: great power, great responsibility.
However, the course is not smooth, with a few changes in tone which clash here and there. When, for example, danger is imminent or tragedy has struck and humorous breaks are in order. Except that they are often irresistible. So we go over it and go on … probably for a long time. Because the whole thing – the end of the film as such as well as the two additional scenes – leads to a field of possibilities with stratospheric dimensions. It is said.