The last episode of Jon Watts's spider trilogy happens what happens to the famous Schrödinger cat, who is dead and alive at the same time. That is to say, the film alternates in two (or more) parallel universes the toll-free and witty moments with the most demanding superheroic prosody for exclusive consumption by those of level C in the matter.

The challenge facing the director is no less: to match in the same production the carefree and gloriously adolescent rules that had defined Spider-Man in the two preceding installments with all the imaginable possibilities of the superhero of yore to date.

Otherwise, the idea is none other than to close a cycle of two decades that no one, until this film came along, had even imagined that it existed.

From the outset, the entire film is built on the latest great artifact devised by marketing to hide gross errors or simple script ravings: the spoiler.

When starting the matter, the actors tear down the fourth wall to warn of how reckless and rude it would be to go around saying what will happen next. In fact, the warning itself ends up being part of the plot of the film. What you see below is all surprise.

Surprise upon surprise in an anything-goes festival as fun as forced in equal parts and even equidistant. And in parallel.

In reality, Watts' proposal does nothing more than tame and turn into a mass consumption blockbuster the findings of that animated genius that went by the name of

Spider-Man: A New Universe

,

signed by six hands by Bob Persichetti, Peter Ramsey and Rodney Rothman. On that occasion, the already assumed concept of the multiverse (the network of alternative universes in which replicas of the superheroes on the payroll multiply without end)

reached its most glorious paroxysm.

And all this on the idea of ​​matching a simple and fun interpretation of the theories of quantum physics with the necessary crisis of the classical linear story in times of circular postmodernities.

Also, make no mistake, the multiverse was (and is) the most shameless and brilliant commercial strategy capable of exponentially expanding to infinity the ways of mixing the same old chocolate.

Watts' proposal does nothing more than tame and turn the findings of that animated genius that went by the name of

Spider-Man: A New Universe

into a blockbuster for mass consumption.

In this area (or multi-area),

Spider-Man: No Way Home

is constantly on the move

.

Let's say the movie is the board of a game that has no rules. Or, better, that the rules are improvised and displayed on the screen in a story

(or multi-story) so eager to surprise the more or less clueless viewer as to reassure the militant viewer. If Watts's spider-man had stood out for something, it was because of his very unprejudiced approach to the subject. His Spider-Man was as adolescent as an asshole. And this is not so much an insult, but perhaps also, as a simple description. If we make use of the etymology, the adolescent is not in the strict sense the one who suffers from something but the one who is growing (that is 'adolescere' in Latin). And in his progression, he hesitates, splutters, raves, takes drugs and, if necessary, even dresses in tights. We have arrived. Who past a certain age is capable of all this? Just the assholes. Or superheroes. Teenagers, of course.

Watts now continues to respect his style book. But less. This time what matters to him is more to close the saga than anyone ever imagined.

And it is there, in the awareness of its importance, where it recovers many of the most anodyne commonplaces of the genre and where it loses grace, brilliance and originality. For the rest, it

also does not help that the arbitrary

spoilerizable

plot

feels the need to justify itself over and over again in a certainly tiresome exercise of repetition.

Having said all this, I

especially like two notes

that the film leaves as current comments:

the perversion of fame

(Spider-Man loses his power to do good as soon as he loses his anonymity),

and the sour and absurd sadness of the polarization between good and evil

(it is not appropriate to say much more about this because, in effect, it is a spoiler and a lot of spoiler).

Thus the things, the spider is neither alive nor dead, rather dissected.

+ Political comments, which exist, are as curious as they are unusual in the genre.

It is true that they are quite hidden.-The obsession with the spolier has already ended up being the saddest of spoilers.

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