Marvel cinematic universe wiki

Why did Sony want a soft reboot of Spider-Man?

Zendaya and Tom Holland in Spider-Man: No Way Home

Stranding Spider-Man in that sad apartment, without friends or family, may seem like a rather grim fate for Holland’s Peter Parker, but for Sony—which has always preferred its Spider-Men a little more tortured—it’s a return to form.

When Disney teamed up with Sony to produce the Holland movies and integrate the character into the Marvel Cinematic Universe, the studios Disney-fied Peter Parker. He was younger, cheerier and more naive than his predecessors. He benefited from Iron Man’s mentorship, not to mention the billionaire’s pocketbook. He had a cohort of friends and fellow Avengers who knew his secret identity and helped him navigate the chaos of balancing crime-fighting and homework.

For many fans, the true Spider-Man is broke and overwhelmed by his obligations. He’s also rather lonely since every time he reveals his secret identity to someone that person winds up in grave danger. Those financial and emotional challenges make Peter inventive, resourceful, compassionate and—this is key—relatable.

When Holland’s Spider-Man suffers in this movie, he learns the lessons superheroes (and Jedis and Hobbits and Jon Snows) need to learn to become the heroes they need to be. This film gets chaotic as films involving the multiverse are wont to do. But by the end Peter’s path forward is clear, open and full of possibility. The eager schoolboy has finally developed into a mature and slightly more melancholy character, akin to the Peters who came before.

Parker’s isolation also happens to be a handy plot device. Sony now has the option to produce future Spider-Man films without Disney without having to explain why characters that Disney owns like Captain Marvel or Ant-Man aren’t stopping by to check on Peter.

SPIDER-MAN: NO WAY HOME on its way to box office records

Spider-Man: No Way Home belongs to the fourth phase of MCU films and was the highest-grossing film of 2021 worldwide. Given the enormous success, it’s not surprising that they milked the cash cow a little bit more — or simply wanted to give fans a little bit more, depending on how you look at it.

The current 1.9 billion dollar box office result (October 2022) already includes the fact there was a second theatrical release with the title The More Fun Stuff Version in September 2022. In the end, this only made up a small share of around 10 million dollars, but for fans worldwide it is of course exciting to see what is behind it. A quasi completely different film version, as was the case with the re-release of Deadpool 2 as Once Upon A Deadpool, could not necessarily be expected. But around 12 additional minutes were promised here.

Since the end of October 2021, this extended version is available for purchase on a few selected streaming providers. Unfortunately, it is not available on a large scale at Disney+ or Netflix, for example, as the title is probably too big for that (for the time being). But is it worth buying, especially if you already know the theatrical version?

What happens at the end of Spider-Man: No Way Home?

(l-r) Tom Holland and Benedict Cumberbatch in Spider-Man: No Way Home

At the end of the last Spider-Man movie, Far From Home, the villain Mysterio revealed Spider-Man’s secret identity, effectively blowing up Peter’s life. Everyone is suspicious of Peter and his friends by association.

Peter asks Doctor Strange to cast a spell that will make everyone forget that Peter Parker is Spider-Man, and for reasons surpassing understanding, the wildly irresponsible wizard consents to do so. But mid-incantation, Peter begins to change the parameters of his wish: He would like MJ to remember him, and aunt May…and his friend Ned, too. The spell misfires and Doctor Strange accidentally opens up portals between parallel universes.

A handful of villains from older Spider-Man franchises—the ones starring Tobey Maguire and Andrew Garfield before Tom Holland took over the role—cross over from their worlds to fight Holland’s Peter Parker. It’s Peter’s job to send them back, though once he realizes that all the baddies are fated to die fighting the other Spider-Men, he wonders if there isn’t a kinder, more ethical way to deal with these men, each of whom suffers from some mental or physical ailment. (What an admirably empathetic, Gen Z approach to battling bad guys!)

Of course, no good deed goes unpunished, and the Green Goblin escapes and kills Aunt May. In her dying moments, Aunt May utters the famous words that have yet to have been spoken aloud in this particular iteration of the Spidey story: “With great power comes great responsibility.”

Peter is racked with guilt and desperate to kill the Green Goblin. But this is a Spider-Man story, not an Avengers story, and unlike his fellow superheroes, Spider-Man is fueled by hope, not vengeance. Luckily, Maguire and Garfields’ Peters cross into Holland’s dimension too and counsel Peter on the importance of empathy. They then help the young Spidey catch and cure each of the villains.

But even as they send the old baddies back to their worlds, the multiverse continues to fracture. The only solution? Everyone in the universe needs to forget Peter Parker. Doctor Strange agrees to cast the spell, and Peter says his goodbyes to MJ and Ned.

Peter approaches MJ later to tell her who he is but decides against it so she can go start a new life in Boston as a college student at MIT. He rents out a midtown apartment, dons a homespun Spider-Man costume and begins a lonely life of fighting crime and trying to make rent.

Frankly, I have lingering questions. Why did everyone need to forget who Peter Parker is rather than just forget that Peter Parker is Spider-Man? Why change the parameters of the spell? How does the spell even functionally work when Peter still has an entire semester of high school left? MJ and Ned go to school with him—would everyone just think he’s a new kid who appeared out of nowhere? Did the spell apply to all the Peter Parkers? Did Tobey Maguire’s Peter Parker return home to Kirsten Dunst’s MJ only for her to not recognize him?

These issues are largely unimportant since the memory-wiping plot functions as a bridge into a new trilogy. Now, we get to watch an older Peter try to navigate his early 20s with new friends and foes.

Персонажи в «Нет пути домой»

Конечно, такой фильм, ставший вершиной всей киноистории про Паучка, не мог обойтись без тонны отсылок, пасхалок и камео. Ирония в том, что даже сами персонажи стали этакими пасхалками.

Marvel не поскупилась, вернув пантеон старых злодеев и героев. Мы все ждали появление Эндрю Гарфилда (Andrew Garfield) и Тоби Магуайра, а многочисленные сливы лишь это подтверждали. Возвращения стали милыми и по-доброму ностальгическими. Каждая из приглашенных звезд получает свою небольшую арку, успевает показать характер и сформировать новый образ. Теперь Sony может использовать любого из них, развивая вселенную автономно от героя Тома Холланда (Thomas Holland).

Старшие Пауки не подкачали. Они не просто выдернуты из собственных вселенных, но и изменились с учетом прошедших лет. Паук Гарфилда стал депрессивным и неуверенным. Он так и не смирился со смертью Гвен, и это оставило в его душе огромный шрам. В свою очередь Магуайр избавился от театральной комичности. Он старше всех и пережил довольно много потрясений. Однако жизнь его находится в относительном балансе — перед нами не мудрый учитель, а скорее старший брат. Шутка про паутину из различных отверстий тела — на месте; знаю, все ее ждали.

Но самое главное, за что сценаристам Marvel хочется аплодировать — проработка связи между Пауками. Они разные, но в то же время одинаковые. Знатоки услышат знакомые фразы и будут в восторге от того, как умело они вписаны в сюжет. Паркер в исполнении Холланда сталкивается с проблемами, которые другие Пауки уже пережили. Поэтому они не просто поддерживают его, но и предостерегают от своих ошибок.

Злодеи сохранили узнаваемые образы, что также порадует фанатов. Не забыли про синюю кожу Электро и чип в позвоночнике Отто Октавиуса. Герои получились интересными. У каждого четкая мотивация и взгляды, отличные от других. Небольшими штрихами Marvel удалось сделать их живыми: Холланд противостоит не команде суперзлодеев, а скорее разным людям с собственными личными проблемами.

Несмотря на очевидную попытку уместить демонстрацию способностей каждого в закономерно скромное экранное время, вы не ощутите недосказанности или сумбура. Как я уже сказал, фильм в большей степени концентрируется именно на Питере и его переживаниях. Другим героям выделяется ровно столько времени, сколько требуется, чтобы они отыграли необходимую роль для сюжета. Однако даже тут в сравнении с прошлыми картинами наблюдается значительный шаг вперед.

Эм-Джей больше не абстрактный персонаж-функция. Развитие её отношений с Питером даёт свои плоды. Она открыто говорит о чувствах, поддерживает Паука и принимает непосредственное участие во всех событиях. Перед нами нечто среднее между Мэри Джейн и Гвен Стейси, и это приятно.

Изменения коснулись и Неда. Он все еще главный комичный персонаж, однако более вдумчивый и осознанный. Да и намеки на будущее героя интригуют. Интересно, как Marvel использует это в дальнейшем.

Тетя Мэй, как всегда, великолепна. В этот раз ее роль получилась одной из важнейших. Ее отношения с Питером не претерпят серьезных изменений, однако она заставит его задуматься о серьезных вещах, станет «моральным компасом» героя.

Лишь Хеппи почти не нашлось места в картине. Здоровяк появляется мельком, а потому полноценным персонажем его назвать трудно. Забавно, но именно бывший помощник Старка выглядит большим камео, чем старые Пауки и злодеи. Это, пожалуй, один из немногих минусов, ведь именно Хеппи фактически взял на себя обязанности дяди Бена, а в новом фильме практически никак не общается с Питером.

***

Как вам «Человек-паук: Нет пути домой»?

• Том Холланд ответил, смог бы Человек-паук победить Росомаху
• Сэм Рэйми рассказал, что думает о фильме «Человек-паук: Нет пути домой» и появлении в нем Доктора Осьминога
• Режиссер «Венома 2» рассказал, когда Человек-паук встретится с Эдди Броком

Bad Qualities

1. When removing the Multiverse stuff, this is basically a film version of One Moment in Time, the story that explains all the timeline changes that happened as a result of One More Day.
2. Not all of the characters are handled well.
   • Curt Connors/the Lizard serves as little more than muscle throughout the film, despite having a similar degree of scientific expertise as Osborn and Octavius in his original film. He gets captured by Strange offscreen before Peter is tasked with finding the other dimension-hopping villains, and doesn’t enter Happy’s apartment to research cures with Peter and the other villains. The moments when he does get involved in dialogue are mostly Played for Laughs due to everyone’s collective surprise that he can talk and because the others think he just wants to turn people into lizards For the Evulz. It’s notable since Connors was, like Otto, one of the more genuinely sympathetic villains in his film, and was actually successfully cured in the end.
   • Ever since The Stinger of Venom: Let There Be Carnage, fans wondered if Eddie Brock and Venom would show up throughout this film’s main plot, but they only make a cameo in the mid-credits scene and aren’t able to do anything (besides getting wasted at a bar for about a minute and a half trying to figure out what’s been going on in the MCU) before being sent back to their home dimension (i.e. Sony’s Spider-Man Universe). The upside? They left something behind that will likely have repercussions in the MCU down the road.
   • Despite the early setup and consistently sympathetic treatment Electro and Sandman are given in the first half, after the Spider-Men arrive, the film proceeds to nearly forget about them until the third act suddenly needs to scale up the threat, and their earlier sympathy is nearly thrown out for the sake of needing a fight. Sandman’s motivations basically boil down to «get home and reunite with his daughter» is completely at odds with the former’s collective goal (of staying in this universe to avoid dying/losing), whereas Electro at least has the excuse that he’s given a reason for wanting to stay/not return and is clearly not enthused with losing his powers in the first place.
   • Jameson’s nearly wasted as a character throughout the film. While it’s expected for the guy to be on Spider-Man’s case for the things he’s done, the film hardly draws attention to specific misdeeds or actions that would warrant such antagonism. You’d think for Peter’s identity being public knowledge, it would elicit any number of petty grievances with his personal or professional life, but it’s not to be. Even after Peter’s identity is erased and you might expect curious journalists to want to look into his past, Jameson still gives generic «Spider-Man’s a menace» prattle that could’ve been filled in by any stock reporter. Not helping matters is the decision to frame Jameson as a stand-in for Alt-Right media figures, which besides the fact it leads to them leaving out some of Jameson’s depth as a character, they don’t actually do anything with this angle, just having him be a voice to kick Peter while he’s down.
3. There are some plot holes. For example:

Reception

Spider-Man: No Way Home received positive reviews from critics as well as universal acclaim from audiences, with praising the performances, cinematography, musical score, action sequences, screenplay, fan services, villains, emotional weight and direction. The review aggregator website Rotten Tomatoes reported an approval rating of 93%, with an average score of 7.90/10, based on 391 reviews. The verified audience score was 98% based on over 25,000+ ratings. The site’s critical consensus reads: «A bigger, bolder Spider-Man sequel, No Way Home expands the franchise’s scope and stakes without losing sight of its humor and heart.», while the Audience Says consensus reads, «Packed with action, emotion, and surprises, Spider-Man: No Way Home is franchise fan service at its finest.». On Metacritic, the film has a weighted average score of 71 out of 100, based on 18 reviews, indicating «generally favorable reviews». The audience score is 8.9 out of 10 based on 2,051 ratings, indicating «universal acclaim.» IGN gave the film a positive review praising the performances, writing «The vast majority of everything presented in this newest chapter works.» Audiences polled by CinemaScore gave the film a rare «A+» grade on an A+ to F scale, making it the first live action Spider-Man film and the fourth film in the MCU to do so, after The Avengers (2012), Black Panther (2018), and Avengers: Endgame (2019). PostTrak reported 96% of audience members gave it a positive score, with 91% saying they would definitely recommend it.

Box office

As of January 10, 2022, Spider-Man: No Way Home has grossed $670.8 million in the United States and Canada, and $867.5 million in other territories for a worldwide total of $1.538 billion. It is the highest-grossing film of 2021, the eighth-highest-grossing film of all time, the sixth-highest-grossing film in the United States and Canada, the highest-grossing Spider-Man film, and the highest-grossing film released by Sony. No Way Home is also the first film since Star Wars: The Rise of Skywalker (2019) to gross over $1 billion, becoming the third-fastest to reach that milestone and the first to do so during the COVID-19 pandemic. It surpassed Jumanji: Welcome to the Jungle to become Sony Pictures’ highest-grossing film in North America. Deadline Hollywood estimated the film’s final net profit to be $610 million, accounting for production budgets, marketing, talent participations, and other costs versus box office grosses and home media revenues.

In the United States and Canada, Spider-Man: No Way Home earned $121.85 million (which included $50 million from its Thursday night previews) on its opening day, becoming the second-highest opening film after Avengers: Endgame ($157.4 million) and the highest-opening film for a December release. In its opening weekend, the film grossed $260 million, surpassing Avengers: Infinity War ($257.7 million) to become the second-highest domestic box office opening of all time. As of January 9, 2022, an estimated 54.4 million people have seen Spider-Man: No Way Home in theaters in the United States and Canada.

The film earned $43.6 million from 15 markets on its opening day, with Sony holding the best opening-day record in South Korea, the United Kingdom, Mexico, Italy, and Taiwan. In South Korea, the film grossed $5.28 million on its opening day, thereby beating Spider-Man: Far From Home‘s opening day in the country by over 11% and the biggest day-one figure for any film during the pandemic. In the United Kingdom, the film beat No Time to Die‘s opening box office record at £7.6 million ($10.1 million). In India, the film’s box office on its opening day was ₹32 crore (US$4.2 million) to ₹34.50 crore (US$4.6 million), beating Endgame and the Indian film Sooryavanshi (2021). In its five-day opening weekend, the film grossed $340.8 million from 60 markets. As of January 10, 2022, the film’s largest markets are the United Kingdom ($105.8 million), Mexico ($64.9 million), South Korea ($55.8 million), France ($55.2 million), Australia ($47.9 million), Brazil ($46.9 million), Russia ($41.4 million), Germany ($36.7 million), India ($35.3 million), and Spain ($25.7 million).

Post-credit scenes: сцены после титров

Сцены после титров всегда были небольшим подарком для фанатов, бросающих тонкие намёки, о чём будет продолжение фильма, или просто шутками. Но в последней части Spider-man: Far From Home сцена после титров просто шокирующей! Мистерио раскрыл личность Человека-Паука, назвав его главным злодеем человечества, записав видеозаявление Spider-Man’s Real Name Is Peter Parker! Сцена стала настоящим shocking game-changer — шокирующим переломным моментом.

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