There are three things ATOMIC BLONDE isn’t. It is not a female counter part to John Wick (so don’t go in thinking it is even though it is directed by the guy that directed the first John Wick film). It isn’t the action film of the summer. And most of all, it isn’t that great of a film. In fact, of it’s two hour run time I was bored for almost half of it. And we can blame that absolutely stupid unoriginal crappy plot/MacGuffin our characters spend the entire film trying to recover. Other than the incredible acting and one really fucking good 15 minute stairway/car chase that seems like it is an uninterrupted shot, this movie isn’t atomic at all, it is more like a fizzle, a short loud spark, and then fizzles until it is no more.

I won’t give away anything, but there are two big twists in the film. The first one you can see coming from a mile away. The second one I was even shocked by, but then I starting thinking, “wait a minute, did they first start out with this twist/idea and try to build a plot around it?” I started suspecting that they did, and then wondered if the writers got writer’s block, watched the first Mission: Impossible film, suddenly “had an idea” and built a cliched, meandering, stupid plot that has been done a million times before, just to yell “GOTCHA!” at the very, very end of the movie.

This isn’t giving anything away but I am going to tell you the MacGuffin/plot of the film. Charlize Theron is a British secret agent that is hired to recover a secret list that if uncovered will reveal a lot of secret agents, their whereabouts, and code names. I can see your face twisting in a grimace right now as you read this, and exclaim, “wait a minute, you mean the fucking NOC list from Mission: Impossible?” Yes, that is correct, they basically borrowed the entire NOC list idea from M:i, and that’s what they go with the entire film. It doesn’t lead to something else which leads to something else. The entire film is trying to uncover this list all while asking yourself, “who can you trust?” And then the big twist at the end is revealed, and you realized that was the true end game all along and that they really had nothing else left to offer.

It’s sad two, because David Leitch, is a good director. The first John Wick is an incredible awesome film. He knows how to shoot fight scenes and he knows how to bring a lot of style to his films. Unfortunately, he didn’t bring any substance to this movie. Which is okay, because I blame writer Kurt Johnstad, who barely has any screenwriting credits to his name other than the terrible Act of Valor film and 300 1 and 2. And don’t get me started on 300, yes it is a cool film but we can thank Zack Snyder for the brash, cool atmosphere where as if you look deep into that screenplay, it is filled with crap dialogue and not a lot of substance either. So David Leitch is still a good choice for directing the upcoming Deadpool 2, especially because Kurt Johnstad didn’t write it.

The acting though in this is aces. Charlize Theron can act her way out of a paper back, and in this she is pretty damn cool. So is James McAvoy. They always bring their A game to every film they are in, and it shows we can trust them to deliver performance wise. This movie is not their fault either. And the action, while there isn’t all that much, is pretty good. Not gun fu, but very good choreographed action that doesn’t look too choreographed. And the stairway/car chase fifteen minute action scene is really the only reason I would maybe recommend to watch the movie just once, or at least catch the scene on You Tube when it eventually appears. It looks like one whole interrupted take, even though we movie people know all the camera tricks involved.

The music choices were good too, for a film being set in the 80s. But two great actors, one cool action scene, and music can’t save the blandness that is the rest of the film. I just didn’t care about the plot so I really didn’t care about the characters, choices, or anything else that happened in the film. I almost fell asleep a couple of times. And it’s disappointing because I was really looking forward to this movie a lot. If only they had more time on the screenplay and completely scrapped the NOC list type scenario. We could’ve had something atomic. This isn’t nuclear, TNT, or even a shoe bomb. This is a firecracker that lasts about a second.

 

Really the only reason I would encourage you to watch INGRID GOES WEST once would be to see O’Shea Jackson Jr. and his character (aka Ice Cube’s kid that played his father in Straight Outta Compton). His character is obsessed with Batman the entire movie, talking about how Batman is the best superhero, Batman Forever is his favorite movie, all things Batman, and it is absolutely hilarious and O’Shea proves that he has is father’s acting chops and maybe even then some. It also involves one of the most bizarre foreplay scenes I have ever seen. But other than that, this is another one time watch throwaway fare where the performances (Aubrey Plaza is also excellent) outweight the very little substance the movie has.

And the substance had so much potential. Basically, a story of an obsessed loner chick that becomes a “Cable Guy” to Instagram followers and begins stalking them just to feel cool and be able to make a friend. After coming out of the mental hospital for spraying the most recent person she stalked in the face with mace during her wedding reception, she moves on to Elizabeth Olsen, and also moves to Palm Beach, California. She rents a house from Ice Cube’s son and steals her dog to fake rescue and bring it back to get close to her. High jinks ensue. It is a pretty dark comedy, and almost goes to some very very dark places but the movie never quite steps over the line, and I would’ve loved for it to. Instead it takes inevitable routes to a conclusion that didn’t feel quite earned.

Dark comedies should always cross the line, hence why they are called dark comedies. But I guess they can’t take that one last risk afraid of losing a mainstream audience. Who cares? Fuck the mainstream audience on this one, this should be for the people that are truly passionate about cinema. Go dark. And still be funny. The problem with this movie is when it tries to go a little dark, it gets less funny. The movie isn’t really all that funny to begin with. It does have a couple of laugh out loud moments, but it is basically only when O’Shea is on screen.

This could’ve been a great movie with a great message about how psychotic social media can get. Instead, it is filled with a bunch of unlikable characters, except for O’Shea and Wyatt Russell, that either don’t get what is coming to them or don’t earn the endings that they should. It is really a bizarre little film. Audrey Plaza is fantastic in this and with it and her great supporting turn in Legion, she could even be one day nominated for an Emmy or Oscar.

Elizabeth Olsen once again proves that she can act the pants off her sisters, but here her character is so unlikable that it is hard to critique her acting, because you don’t really want to. Ultimately, the problem with this film is the screenplay. For a dark comedy, it never gets dark, and it isn’t even too comedic. The Cable Guy had way more laughs than this did. I still think (and its very debatable) that The Cable Guy was wayyyy ahead of it’s time. This movie unfortunately feels like it is wayyyy too late.

GIRLS TRIP is basically what last month’s Rough Night should’ve been: a funny weekend of awkward and bombastic situations a lot of it involving crude and sexual content where the main lead ladies have great chemistry that flows right off the screen. This movie is hilarious and I laughed out loud countless times. It’s a movie that is rude, crude, and for all adults (especially single ladies) to sit back and just enjoy. I really wish these ladies also had a dead body on their hands plot to deal with, because it would’ve completely outrageously great.

Alas, the plot is a little more simple, but the jokes and leading ladies completely make up for it. It’s about four ladies, who call themselves the “Flossy Possey”, who haven’t seen each other in awhile, met in New Orleans while the famous of the bunch, Ryan, (played by Regina Hall) is with her husband to promote their new book and try and score a tv/promotion deal with some big wigs. The other ladies include Dina, played by Tiffany Haddish who steals every single scene she is in, is a woman just fired by her job looking for a good time. Queen Latifah plays Sasha, a once promising journalist that is now into a celebrity gossip column and is about to be fired herself unless she can get some juicy scoop, and Jada Pinkett Smith plays Lisa, a single mom of two children just looking to be relieved of her duties for a little bit, get laid, and have some fun.

The plot, if you’ve seen the trailer, reveals that Ryan’s husband (played by Luke Cage’s Mike Colter) has been cheating on her with some instagram model and the girls deal with that over the weekend…and with their job descriptions you can see almost where the plot goes. But the plot is beside the point. It’s mainly the girls getting into hilarious situations such as being stuck at a gross motel, swinging and peeing high above New Orleans streets, dance offs, conventions where they are high as fuck, etc. And every single situation is hilarious and such a delight to watch.

And it is mainly because of the chemistry between all four ladies. They are all perfect, and have much better interactions with each other than the ladies in Rough Night did. It’s Tiffany Haddish and Jada Pinkett-Smith that steal the show though. Tiffany Haddish is basically the Zack Gilifinakis of the bunch, with just a raunchy raunchy mouth and perverted way of doing things. I was slightly, only slightly, disappointed when she wasn’t front and center on the screen. Jada Pinkett Smith trying to get laid with this guy with a huge penis steals every scene as well.

I had a great time, and there is not much more to say other than you should see it with a big group of your friends/lady-friends/family, etc. You definitely do not want to see this alone, because it is a laugh riot and you’ll want to talk about it with people directly afterwards. I had fun with this Girls Trip, I only hope they don’t ruin it with a Girls Trip 2. We don’t need a sequel to this. Just watch it over and over again.

DUNKIRK is  the best film of the year so far (yes, beating John Wick 2 for me) and one of the most emotionally satisfying war films I have ever seen. It is mesmerizing, perfect in almost every way. It is as tense as getting a rectal exam but then hearing good news that everything is okay. If you don’t see this in a theater, wait…scratch that, if you don’t see it in 70 mm IMAX, you don’t know what you are missing. But if a real IMAX theater isn’t near you or showing it near you, try to do a 35 mm theater or a regular 70mm theater. The quality is amazing, the shots are exquisite, the colors are vibrant, and you won’t be able to get the visuals out of your head. It is just that good.

If you don’t know your history, the Dunkirk evacuation was of Allied soldiers from the beach and the harbour of Dunkirk between a couple of weeks in May and June 1940. Their ultimate rescue was hailed as a miracle. What Christopher Nolan’s film does is just brilliant. It doesn’t worry about the politics of the evacuation. It doesn’t go to places far away to show Winston Churchill commenting on the events, it doesn’t show what America or other countries were thinking/doing/fighting at the time, it doesn’t even show one bloody German in this film. The movie start with action the moment the movie starts and does not let you go thru the very nice and perfect 106 minute run time until the credits roll. We stay around Dunkirk. We show a story on land with three allied young soldiers just trying to escape the harbour, we show a story at sea with a father, his son and a friend taking a civilian boat to try and get to the beaches to rescue the allied soldiers, and we show a couple of allied pilots trying to pick off German planes before they shoot the Allied shoulders on the beach like fish in a barrel.

The movie also very delicately and masterfully plays with time, with these three stories being shown in non-linear time only to finally meet up and converge near the end of the film. It is all also beautifully scored by what is arguably one of Hans Zimmer’s best. He brings this ticking clock themed score that will literally have you leaning forward in your seat and then breathing out in relief when the music ends and the resolution of that certain scene it was used for. There is very little dialogue in the film, and you don’t know any of the backstories to these characters at all, yet the movie makes you care for them, because of the incredible acting in the dire situations that they are put in. I can’t believe Harry Stiles from One Direction plays one of the three boys, because he is incredible here. But the two who really steal every scene they are in is Mark Rylance is the father trying to rescue soldiers on a civilian boat, and Tom Hardy as one of the pilots trying to pick off German planes.

Mark Rylance gives as great of a performance as he did in Bridge of Spies here with him making calculated moves to try and not only rescue soldiers but while trying to stay alive himself in the process. And Tom Hardy is one of the only actors I know that can bring a full performance when his face is mostly completely behind a mask (the other being Karl Urban). The aerial scenes with him in the plane are the best in the film, and you can see Hardy’s torment and determination just by his eyes and facial movements. I am just glad he didn’t have the Bane voice with this one. The aerial scenes are some of the tensest and realistic, with the audience digging his/her nails into the cushion just hoping that each shot that the Allied soldiers make take out a German. I also loved the fact that they didn’t show the German’s in this. It made their presence more haunting and lethal than any main villain in a movie could’ve given us. It is always scary when the unseen and unknown is targeting you.

All the visuals here are incredible, especially when unfortunate boats gets blown up and start sinking. If anything here was CGI, I couldn’t tell in the slightest. The whole movie is just non stop enveloping tension. Entertainment and film making at the highest order. Christopher Nolan is definitely one of the best writers and directors living and when he passes on (hopefully a long time from now) he’ll be one of those cemented in history, like Hitchcock, to be one of the greatest filmmakers to ever live.

This movie is perfect. Go see it. If it doesn’t when every Oscar nomination it is nominated for it will be a shame. If it doesn’t take home cinematography, I’m done watching the Oscar’s. My only small complaint about this film would be that some of the sound is so tremendous in it that you can barely at times make out what people are saying. There was that same problem with Interstellar, so I might go see it again in 35 mm at Alamo just to take it all in again. It is definitely worth seeing multiple times in the theater. I still can’t believe how utterly great it is at running at only 106 minutes. Usually war films are wayyyy over two hours. This was refreshing. Dunkirk will probably be in the number 1 or 2 spot (we’ll see with Last Jedi) on my top ten list by the end of the year. This is precise film making at its finest. An A+ masterpiece.

VALERIAN AND THE CITY OF A THOUSAND PLANETS would have been a fantastic epic sci-fi masterpiece of a movie, close to the greatness of Luc Besson’s sci-fi masterpiece classic The Fifth Element…if only the two leads were recast. Because of the terrible shitty wooden acting and chemistry between stars Dane DeHaan and Cara Delenginvue, the movie is only pretty good. I am still recommending it, don’t get me wrong, there is plenty to love about this movie, but if your leads don’t work, it is going to hinder your final product. Which is a shame because Dane DeHaan is usually a really really good actor. I have never liked Cara Delenwhatsherface’s acting (she should stick to her modeling day job) so I wasn’t surprised by her lack of being believable, but DeHaan was very frustrating, but I’m going to go ahead and blame it mostly that he didn’t have a great co-star riding along with him on the adventure.

Some are also going to complain about where the plot finally takes you (with a cover up story line we’ve seen all before) but the adventure is so fantastic beyond that I think those complaints will be overlooked. Without ruining anything, the story starts where we see this alien civilization on a planet filled with beauty and these pearls that they worship, and then ships suddenly come crashing down and their whole planet is destroyed. Valerian (played by DeHaan) suddenly wakes up and we realize this his is dream, and his ship tells him that it is a memory belonging to someone else sent to him. Along with his work partner/romantic love interest Laureline (played by Cara), they are on a mission sent by their commander (played by Clive Owen), to get this certain artifact back, and of course Valerian’s dream ties into all this.

Can’t say anymore or I’ll give too much away. The first half of the movie is masterful and exquisite. It shies away from being predictable, where you have no clue what is going to happen next. I still really much enjoyed the second half even though after all that is revealed the movie becomes very formula heavy and even has some of the same beats of the Fifth Element. In the first half Valerian and Laureline go to this planet that has several dimensions within it to get back this artifact that they are looking for. The action that takes place within all these dimensions is unique, fun, and precise. Loved it. There is also a thrilling run/space chase half way thru the film after that, that was a lot of fun. And although I have many, many a complaint about Dane DeHaan and Cara, all the supporting players did fine acting jobs. Clive Owen was fine as the commander, but the two standouts had to be Ethan Hawke as a pimp, and Rihanna as Bubbles, this shape shifting type prostitute. I also really liked this other general played by Sam Spruell.

But the two leads are awful. Some of the worst acting and chemistry I’ve seen all year. And when I walked out of the theater, all I heard was the same thing from everyone’s mouth. Good movie, would’ve been great if someone else played Valerian and Laureline. So it wasn’t just me. But despite all this, I still really did like the movie. The visuals are absolutely amazing and I recommend seeing this in a theater with good 3D projection and sound. A lot of the set pieces were wonderfully beautiful and soft on the eyes. And while the second half of the film goes a little cliche, I still had a fun time at the movies.

Which isn’t that why we go in the first place? I have a feeling though this movie will do very poorly at the box office, but then might become something of a cult classic on blu-ray. If you want to compare this to something, compare it to Disney’s John Carter, a movie which no one saw, but then they saw it on video and everyone that I have talked to that has seen it has only said good things. But if they ever do make a sequel to this film, I don’t care if you have to pull a Katie Holmes/Maggie Gyllenhaul, recast the two leads, other wise their acting might make you cringe like a teeth pulling sensation when you visit the dentist…

Never in my life has a film franchise (well, I guess in this case it would be rebooted but I digress) had a good first film, an even better second film, and a third film been an absolute cinematic masterpiece. I don’t count Lord of the Rings either because I always liked Fellowship of the Ring more than The Two Towers (so sue me). Improving upon a previous feature is a very hard feat, unless you are in your 25th picture like the 007 franchise. But somehow, these new Planet of the Apes movies have improve upon themselves. And not improved by tiny steps either, giant massive Mammoth size steps. WAR FOR THE PLANET OF THE APES is not only a cinematic masterpiece, but it is one of the year’s best films (just like Dawn was a couple of years ago) and one of the best special effects films I have seen that don’t sacrifice story or tone to achieve it either.

If you haven’t seen RISE or DAWN yet…what in the fuck are you doing? Go watch them now and then go see this in theaters. Everything about it is precise filmmaking to a tee. Andy Serkis deserves some kind of supporting nomination or maybe a lifetime achievement award for all that he has done for motion capture performances. This is his best. Easily. He gives Caesar humanity and grace in motion capture that a lot of actors that can’t act worth shit could ever hope to achieve playing human beings. The special effects in this are absolutely seamless and at some points I really thought that Caesar and his family could be real.

To ruin any of this film would be a felony. The trailers do such a great job to thwart expectations and I only hope that future TV spots can do the same. All that the trailers let on is that a Colonel played by Woody Harrelson is after Caesar and his fellow apes. But there is so much more to the story. In fact, there are several twists and interesting story telling devices that kept me guessing while also trying its best to connect to the original Planet of the Apes films with Charlton Heston. Very interesting. And while some people like my friend Josh (you dummy if you are reading this) will think there is going to be an all out endless 30 minute War at the end of the film (honestly, that would be boring, like the Transformers film) the climax is actually smart, unexpected, thought provoking, and righteous. The whole film is amazing, from beginning to end. Not one single scene needed to be left out.

And Woody Harrelson makes one of the most interesting villains I have seen in cinema in awhile. He is ruthless, and merciless, while completely believe he is doing the right thing without any doubt in his mind. He doesn’t think he’s evil and doesn’t think he’s a monster, and he plays it absolutely convincingly. The movie doesn’t have a lot of dialogue, Caesar speaks, but most of the apes still use the sign language. I like that. If I had to complain about one thing in the film it’s on one scene where the apes seem like they are following Harrelson’s army way too close and it’s hard to believe they didn’t see them. Seems like that logic was sacrificed for a cool beach sun setting scene. But whatever, it was forgiven in a second.

I don’t want to talk much more about this film. Other than to say I liked Steve Zahn’s “Bad Ape” and he brought a lot of comic relief much needed in this sense of dread. It’s an amazing film, and if you don’t see it, you don’t know the power of an astonishing cinematic experience. Michael Giacchino provides one of his best scores. I’m still humming it at this moment. The cinematography is perfect. Everything is perfect. I don’t know where to rank it on my list, but it will be near the top. I can’t ape to watch it again. I’m in love with this picture.

WISH UPON is the very definition of why PG-13 horror movies don’t work anymore. Except for those few rare occasions (such as the first Insidious or the first Ring) they just don’t work. Can you scare people or freak them out anymore with cut away deaths and a millisecond flash of gore? No. You have to rub the audiences’ face in it to get them to fear. I get that you cut it or make it PG-13 to get a wider audience and more box office bucks, but I don’t think these geniuses realize that you are actually doing the exact opposite. And it’s not like R rated horror doesn’t work. Look at The Conjuring movies. Look at Saw back in it’s prime. They worked, and brought in the dough. Wish Upon isn’t terrible by any means, in fact, it’s a lazy half way decent lazy afternoon on Netflix. But the fact that it could’ve been so much more is infuriating, making me wish that sometimes PG-13 didn’t exist.

The main problem with Wish Upon is that it cuts away from EVERY SINGLE DEATH either right when it happens or right before. We see the guts of a dog and a few blood splotches on Joey King’s sweater, and that is it. And there were some cool deaths in this movie, a la Final Destination style. But where as Final Destination wasn’t afraid to have the audience see a sharp bottom of a latter go through someone’s eye, this one doesn’t want to show a female being impaled through the head by a bull statue. It doesn’t want to show a chainsaw decapitating someone. It should want to show shards of glass going through someone as an elevator leads a character to certain doom. It doesn’t want to show a scalp being ripped off. And I’m so mad because you can tell this was shot for an R rating and the little studio douches had their way with it to get the PG-13 rating, hoping that people went flocking to the theaters.

The premise had me flocking to the theater, but the execution makes me not want to recommend it to anyone. It just feels like a lazy production. The actors in this deserved better. Joey King actually gives a pretty good damn performance in this, as does Barb from Stranger Things, Ryan Philieppe and others. And an extreme horror variation on Monkey’s Paw and Button, Button is quite intriguing, but when you get a product like this you just want to pick up a novella and read the short stories again. The editing is so choppy it is nauseating, the deaths and who is going to die is extremely predictable, the ending is extremely predictable too, and they waste a mid credit scene by going with the obvious except for the 1,265 ways that would’ve made a stinger more interesting and at least thinking about a decent sequel.

Some of the characters motivations puzzled me a bit, and the way to overcome and beat this evil wishing box is actually not that hard. I figured out several scenarios in ways that a wish couldn’t ultimately make the box not exist, but then their wouldn’t be a movie right? Well at least there could’ve been a smart and cool ending. The director on this film previously did Annabelle, the first one, which sucked too, so I don’t know why I am going to give this guy a chance anymore. If this thing has a director’s/unrated cut, I might watch it one more time to see if there is any cool gory shots and see if the tension is ramp’d up a little bit.

But that is ‘wishful’ thinking. See what I did there? Like I said, the movie isn’t terrible, it is quite watchable, and someone asked me to give it a rating and I said a solid C, which is better than a lot of D and F’s I’ve given other horror crap this year. This movie could’ve been so much more. It could’ve revitalized The Omen, Final Destination Rube Goldberg plot kills and maybe even brought those franchises back with a vengeance. Instead, horror films are still going to be searching for what “it” genre factor they are going to be for awhile. They can’t decide. In the 90s we had slasher, then in early 2000s we had torture porn, then later 2000s we had supernatural ghost/exorcism phenomenon’s and now horror movies just don’t know where to go anymore. I don’t wish I hadn’t seen this movie, I just wish I had seen a little more effort.

 

 

SPIDER-MAN: HOMECOMING is the BEST Spider-Man film. Period. That’s right, better than the classic Sam Raimi’s Spider-Man 2. Tom Holland is both the best Spider-Man and Peter Parker that has ever been displayed on screen thus far and just like Robert Downey Jr. as Tony Stark or Hugh Jackman as Wolverine, nobody will probably ever take that mantle from him. This movie is perfectly paced, funny, charming, smart, action-packed, a great coming of age story, all fitting well within the Marvel Cinematic Universe. Along with the first Avengers, the first Iron Man, and both Guardians, this is one of the best Marvel Universe films ever, and definitely one of the best films of 2017.

What makes this film the perfect Spider-Man film is that it takes everything they got right with the original Spider-Man trilogy and Amazing Spider-Man 2 films, and leaves out all of the bad. No Emo Spider-Man. No too many villians or shitty looking costumes. Spider-Man 2 is great and all but if you really look at the film hard, kind of like The Dark Knight Rises, Spider-Man is not really in the film all that much. This film has the perfect blend of Peter Parker in and out of the costume. It feels like a Spider-Man comic mixed with the awesome animated Spider-Man show we grew up watching as kids. It has a lot of zany and hilarious fun, but also doesn’t go all Batman & Robin on us, while adding some realism and seriousness to the matter. It’s a comedy comic book movie, and it works extremely well as both.

Marvel still doesn’t have the villain problem completely solved…but they are getting pretty damn close. Michael Keaton as The Vulture is the most memorable villain since Loki. Keaton gives humanity to The Vulture, and while he is a bad guy he is not necessarily a bad guy. We get conflicted throughout the film, as conflicted as we got at the end of The Dark Knight with Harvey Dent. I loved the way he becomes the Vulture by what happens during the aftermath of the Battle of New York with the Chitari technology. There is also another two other villains (kind of) that they add in this, but I won’t ruin it here. And there are also nods to other possibly upcomin6 villains as well. If I have to nitpick on one thing here, which I will because it is always good to give constructive criticism, they pull a Cumberbatch/Waltz here, and now we can call it pullling a Cumberbatch/Waltz/Zendaya. If you have no clue what I’m talking about, look it up.

There is so much to say about this film without making this review overly long. I loved everything about it. I love Parker’s best friend Ned, hilarious. I liked Zendaya’s very dry but witty “Michelle.” They pulled a neat twist at the end of the film I didn’t see coming at all. The 2nd post credit sequence (stay all the way through!) was one of the hilarious and best ones yet. Every single action sequence was thrilling, memorable, exciting, and remarkable, I can’t even name my favorite sequence (quite possibly the Washington monument, but the ending plane sequence is great too). I loved all the comedy and jokes, it felt like Peter Parker/Spider-Man from the comic books.

I also really liked that they didn’t overload the film with Robert Downey Jr. either. They really treat him like he is an “and” at the end of the credits on a poster. More than an extended cameo, but not quite a full fledged supporting actor. They give Jon Favareu a more extended role as Happy Hogan, and he is just perfect in the role.  And Marisa Tomei makes a cooler, younger Aunt May. I love that Peter is only 15 in this and even though a 19 year old is playing him, he pulls off the age and can see him in this role for years to come. I loved all the Spidey moves and gadgets. Even the end credits (without the scenes) are fun. This whole film is the definition of fun.

This is one of those rare films I could watch over and over and over again and never be bored. It’s the reason why we go to movies in the first place. Now don’t get me wrong, I loved Wonder Woman too, but this completely blows it out of the water (Sorry Brett.) And to think that this is Jon Watts second feature film as a director, and first major one, and that he pulled this big tentpole film this well is astonishing.

There is really nothing more to say. Go freaking see it. It’s amazing and I wish the film was an hour longer, because I just wanted to hang with Peter. It’s the best Spider-Man film ever made and I doubt any could be better. A masterpiece.