Culture Representation: Taking place in the year 10,191, on the fictional planets of Giedi Prime and Arrakis, the sci-fi action film “Dune” features a predominantly white cast of characters (with some black people, Asians and Latinos) representing heroes, villains and people who are in between.
Culture Clash: House Atreides royal leaders Paul Atreides and his mother Jessica, who are refugees from their planet Caladan, get suspicion from and ultimately join forces with the native Fremen people of Arrakis, to battle against House Atreides rivals in House Harkonnen from the planet of Giedi Prime.
Culture Audience: “Dune: Part Two” will appeal primarily to people who are fans of the “Dune” novel and to people who like epic sci-fi adventures with stunning visuals and good acting.
Austin Butler and Léa Seydoux in “Dune: Part Two” (Photo by Niko Tavernise/Warner Bros. Pictures)
“Dune: Part Two” is a masterful technical achievement that surpasses its predecessor movie on a storytelling level. It’s less cluttered with characters than 2021’s “Dune” and has a more compelling villain and higher emotional stakes. Fans of the the “Dune” franchise will have their expectations met or surpassed with “Dune: Part Two,” a sci-fi epic worth seeing on the biggest screen possible with the best sound system possible.
Directed by Denis Villenueve, “Dune: Part Two” (co-written by Villenueve and Jon Spaihts) is the second part of Villenueve’s movie triology adaptation of Paul Herbert’s densely packed 1965 novel “Dune.” (Villenueve’s “Dune” adaptations are far superior to 1984’s disastrously awful “Dune” movie, directed by David Lynch.) The first part of Villenueve’s “Dune” movie, released in 2021, was an introduction to the main characters and had a lot to do with showing the combat training and the rise of main “Dune” hero Paul Atreides (played by Timothée Chalamet), a royal leader from House Atreides.
Is it necessary to know about the “Dune” book and/or know what happened 2021’s “Dune” to completely enjoy “Dune: Part Two”? Yes. There are many references to 2021’s “Dune” in “Dune: Part Two” that will be confusing to viewers who don’t know what happened in 2021’s “Dune.” Viewers who watch “Dune: Part Two” who don’t know anything about the “Dune” story can still enjoy “Dune: Part Two,” but they will feel like they’ve started reading a book from the middle, not from the beginning.
In “Dune: Part Two” (which takes place in the year 10,191), Paul and his mother Jessica (played by Rebecca Ferguson), who is pregnant with a daughter, are refugees from their home planet Caladan, which has been devastated by a genocidal attack from House Harkonnen. The attack killed Paul’s father/Jessica’s live-in partner Leto Atreides (played by Oscar Isaac), a duke who passed on his legacy to Paul before Leto died. Leto was ordered to be the fief ruler of Arrakis, a desert planet with harsh terrain that is the only place to find a priceless treasure: melange, also known as spice, a dusty substance that can enhance and extend human life.
Because spice is the most sought-after substance in the universe and can make people wealthy, people will go to extremes to get it and to be in charge of Arrakis, whose native people are called Fremen. Prolonged exposure to spice can turn humans’ eyes blue in the iris. Harvesting spice can be a deadly activity because gigantic sandworms ferociously guard the spice. “Dune: Part Two” begins with this caption: “Power over spice is power over all.”
House Atreides and House Harkonnen have been in a bitter rivalry over getting control of spice. House Harkonnen was behind the attack that killed Leto and several of his people. The evil leader of House Harkonnen is a baron named Vladimir Harkonnen (played by Stellan Skarsgård), an obese and ruthless tyrant, who likes to spending time in saunas filled with a tar-like substance. Vladimir’s closest henchman is his sadistic nephew Glossu Rabban (played by Dave Bautista), who doesn’t hestitate to kill anyone for any reason.
The person who orderd Leto to rule over Arrakis was his adoptive cousin: Padishah Emperor of House Carrino named Shaddam Corrino IV (played by Christopher Walken), who was not seen in 2021’s “Dune,” but he has a prominent role in “Dune: Part Two.” In the beginning of “Dune: Part Two,” Shaddam’s daughter Princess Irulan (played by Florence Pugh) can be heard in a voiceover commenting on the night of the House Atreides massacre: “Since that night, my father hasn’t been the same.”
Why? It’s because Shaddam set up Leto as ruler of Arrakis, knowing that House Harkonnen wold respond with a brutal attack on House Atreides. This betrayal (which isn’t spoliler information) becomes a layer in the conficts that exist in “Dune: Part Two.” There is also a big family secret that is revealed that has to do with House Atreides and House Harkonnen.
Meanwhile, Paul and Jessica have made their way to Arrakis, with the help of Stilgar (played by Javier Bardem), the leader of the Fremen tribe called Sietch Tabr. Stilgar is the translator, and negotiator when the Fremens become suspicious of the arrival of Paul and Jessica, who ar ebelieved by many Fremens to be spies. Stilgar, who is convinced that Paul is the messiah from a prophecy, is often the movie’s comic relief in how he how tries to convince his skeptical Fremen people to trust Paul and Jessica and to believe that Paul is the messiah.
In 2021’s “Dune,” Paul met an independent and outspoken young Freman woman named Chani (played by Zendaya), who kept appearing in his dreams before he met her. In “Dune: Part Two,” Paul and Chani develop a romance that heats up quickly, as Chani teaches Paul how he can better navigate avoiding sand worms while walking in the desert. (“You sand walk like a drunk lizard,” she chastises Paul.) Before the movie is half over, Paul and Chani are kissing each other, and he declares his love for her. None of this is spoiler informaton, since this love affair is part of the marketing of “Dune: Part Two.”
However, the relationship between Paul and Chani doesn’t happen without problems. There’s the difference in their social classes: Chani is more uncomfortable with Paul is about the fact that he’s a royal and she’s a commoner. Chani also has to spend a lot of time defending Paul to Fremen skeptics, such as her close friend Shishakli (played by Souheila Yacoub), who is a perceptive and brave fighter. All of the female supporting characters in “Dune” are capable but obviously not meant to outshine Chani.
Meanwhile, House Harkonnen has heard stories that Paul and Jessica are still alive. And you know what that means: There’s going to be another big showdown. And guess who conveniently shows up? Paul’s no-nonsense mentor Gurney Halleck (played by Josh Brolin), who was one of the teahcers in Paul’s fight training. Gurney is still loyal and mostly stoic. He doesn’t really become a father figure to Paul, but Gurney the closest male connection that Paul has to Leto, since Gurney and Leto knew and respected each other.
For the big showdown in “Dune: Part Two,” House Harkonnen has enlisted the help of a vicious killer named Feyd-Rautha Harkonnen (played by Austin Butler), Vladimir’s nephew whose weapon of choice is a massive knife. A seductive psychic spy named Lady Margot Fenring (played by Léa Seydoux) has a plan to seduce and get pregnant by Feyd-Rautha, for reasons that are explained in the movie. She also does this seduction to find out what Feyd-Rautha’s weaknesses are.
The 2021 version of “Dune” was nominated for 10 Oscars and won six Oscars: Best Film Editing, Best Cinematography, Production Design, Best Sound, Best Original Score and Best Visual Effects. Without question, “Dune: Part Two” is also award-worthy in these categories as well. Everything in “Dune: Part Two” is done on a grand, immersive scale that are stellar examples of excellence in cinematic world building of a fictional universe. “Dune: Part Two” (which was filmed in Hungary, Abu Dhabi, and Jordan) has scenes taking place in the sand that are truly unforgettable.
As for the relationships between the characters, Paul sees a more vulnerable side to his mother Jessica, when she is pressured into becoming a reverend mother, which is a responsibility with physical and emotional burdens that Jessica is reluctant to have. In the first half of the movie, Jessica shows her powerful fight skills, but after she transforms into a reverend mother, Jessica ctually becomes passive, as she sits by and watches other people fight. Reverend Mother Mohiam (played by Charlotte Rampling), who was in 2021’s “Dune,” has a more scheming side that is revealed in “Dune: Part Two.”
“Dune: Part Two” might have more appeal than 2021’s “Dune” for people who want to see the romance of Paul and Chani that didn’t exist in 2021’s “Dune.” This romance is very chaste, with a “first love” tone to it. The “Dune” trailers already revealed much of the dynamics in this romance, where Paul respects Chani and wants to treat her as his equal. However, will Paul’s royal lineage and duties get in the way of this budding romance?
Chalamet and Zendaya are quite good in their roles as Paul and Chani, but nothing about their performances is worthy of prestigious awards. Paul is depicted as a sensitive and somewhat tortured hero. He tells Chan that he keeps having nightmares of thousands of people dying of starvation because of him. Chani is kind of a stereotypical “tough woman in an action film” who wants to act like she doesn’t fall in love easily, but of course she does just that with Paul.
A characteristic of an above-average sci-fi/fantasy film is the portrayal of the chief villain or villains. Skarsgård as Vladimir Harkonnen and Bautista as Glossu Rabban have less screen time in “Dune: Part Two” than they did in 2021’s “Dune” and don’t really do anything new with their performances. Butler as Feyd-Rautha is the “Dune: Part Two” villain who is the obvious standout, since it’s already been revealed in the movie’s trailers that the climactic battle scene includes a one-on-one fight with Paul. “Dune: Part Two” lacks susbtance by not telling more about Feyd-Rautha’s background. He’s an enigma for the entire movie.
“Dune: Part Two” will no doubt have multiple viewings from fans of the franchise. As for winning over new fans, the movie has a tone that seems to be saying, “You either understand what you’re watching , or you dont. And we don’t have time to explain it all to you.” If you’re unfamiliar with the “Dune” franchise, and you’re the type of person who doesn’t like the idea of dong homework-like research before seeing a sc-fi movie that has a complex story, then “Dune: Part Two” probably isn’t for you. For everyone else, “Dune: Part Two” will fill up your senses with an absorbing story whose cliffhanger ending hints at how this excellent cinematic adaptation continues.
Warner Bros. Pictures will release “Dune: Part Two” in outside the U.S. on February 28, 2024, and in U.S. cinemas on March 1, 2024.
Culture Representation: In the documentary film “Is That Black Enough for You?!?,” a predominantly African American group of people (with a few white people), who are all connected to the movie industry in some way, discuss the impact of African American-oriented movies that were made from 1968 to 1978.
Culture Clash: Black filmmakers and cast members had uphill battles dealing with racism and socioeconomic inequalities when making movies centered on African Americans.
Culture Audience: “Is That Black Enough for You?!?” will appeal primarily to people who are interested in cinema history from 1968 to 1978, as well as how sociopolitical issues affected African American movies that were made during this time period.
Suzanne de Passe in “Is That Black Enough for You?!?” (Photo courtesy of Netflix)
The title of the documentary “Is That Black Enough for You?!?” is inspired by this catchphrase being said in director Ossie Davis’ 1970 action comedy film “Cotton Comes to Harlem.” It’s a phrase that can apply to the debates and dilemmas about African American representation on screen and behind the scenes, in the art and business of filmmaking. Writer/director Elvis Mitchell gives elegant narration and an informative retrospective in this noteworthy cultural documentary, which puts a deserving spotlight on African American-oriented movies and filmmakers from 1968 to 1978.
“Is That Black Enough for You?!?” (which had its world premiere at the 2022 New York Film Festival) is the feature-film directorial debut of Mitchell, a longtime film critic and historian. As he explains in the documentary, he chose to focus on the years 1968 to 1978 not just because movies from that 10-year time period had a massive impact on him in his youth but also because its the first major renaissance period when movies centered on or starring African-Americans became mainstream hits in the United States and other parts of the world. Through interviews, archival footage and Mitchell’s superb analysis, “Is That Black Enough for You?!?” takes viewers on a journey that is unique, informational and worth watching by anyone who loves movie history.
Mitchell begins the movie on a personal note, by describing how he developed his passion for on-screen entertainment. He says that he and his family would regularly go to the movies when he was growing up. His grandmother, who was originally from Mississippi, was particularly influential on him. She would describe movies as resembling dreams.
From an early age, Mitchell says he was keenly aware of whether or not he was seeing African Americans like himself on screen. He tells an anecdote about how his grandmother wouldn’t let him and other young people in their family watch “The Andy Griffith Show” comedy series, because there were no black people on the show. His grandmother would say about the black people who weren’t part of the American communities represented on screen: “What do you think happened to them?”
As people who are knowledgeable about U.S. history already know, what happened was that it was legal in the U.S. to segregate white people and people of color until the Civil Rights Act of 1964, which prohibits discrimination on the basis of race, color, religion, sex or national origin. Since movies are often a reflection of what’s going on in society at the time, the origins of African American cinema’s first major renaissance can reasonably be traced back to the effects of the Civil Rights Act of 1964.
It just so happens that 1968 was a flashpoint year for African American history that extended to filmmaking. It was the year that civil rights leader Martin Luther King was assassinated, but it was also a year that Sidney Poitier was one of the biggest movie stars in the world and the first black actor to have this type of movie star status. Poitier helped pave the way not just to have international hit movies with a black person as the star but also to create more opportunities for filmmakers who wanted to make movies with a black-majority cast. It was the first time in movie history that movies with black-majority casts would become big hits and/or have an important influence on mainstream culture.
In the late 1960s and through the 1970s, the Black Power Movement thrived and challenged white supremacist racism permeating through all aspects of society. Mitchell comments in the documentary: “Revolt broke out in the movies too.” It wasn’t enough just for African Americans to be on screen, usually in roles showing subservience to white people. There was a movement to have more movies showing the varieties of African American people and communities that exist, including roles where African Americans could be in charge.
Actor/activist Harry Belafonte, a longtime friend of Poitier (who passed away in 2022), says in the documentary that Poitier made a name for himself in the movies by being the only black man among an overwhelming majority of white people. Although Poitier usually played upstanding, professional men, Poitier’s earliest movies were often about him having to assimilate into a white-majority community or society. The tone, whether overt or subtle, was that the characters that Poitier played in these movies had to make white people feel comfortable around him, rather than the character just being allowed to be himself without having to “accommodate” anyone.
Breaking racial barriers can be an achievement that’s diminished if the person breaking the barrier is treated or perceived as a token. Mitchell comments on the type of success that Poitier had with in the first few decades of Poitier’s career: “Unfortunately, he’s the entertainment industry’s reaction to people of color. Black success in the entertainment industry is like finding a $100 bill on the subway: an unrepeatable phenomenon.”
Belafonte says in the documentary that one of the reasons why he stopped making movies from 1959 to 1970 was that these types of Afro-centric movies just weren’t being greenlit by major movie studios at the rate that Belafonte thinks they should have been. And he didn’t want to take the same old racially demeaning roles that were often offered to African American actors at the time. Belafonte comments on how he dealt with racist attitudes in the entertainment industry, “I’m not going to do anything that I didn’t think was worthy of being done. I have a destination that answers your denial of what I could be.”
Fortunately, many African American filmmakers didn’t want to wait around for major studios to offer them opportunities. “Is That Black Enough for You?!?” gives an excellent overview of the African American independent filmmaking community that grew from the late 1960s onward. Many of these filmmakers hired large numbers of black people in front of and behind the camera.
Among the African American filmmakers who get props in the documentary for being directors who hired a lot of black people from 1969 to 1978 are Charles Burnett (one of the people interviewed in the film), William Greaves, Melvin Van Peebles, Stan Lathan (also interviewed in the documentary), Max Julian, Davis and Poitier. Julian is mentioned as one of the few African American filmmakers at the time who owned his movies. The documentary also gives credit to pre-1960s filmmakers who paved with way with African American-majority casts, including Oscar Micheaux and Alice Guy-Blaché.
Poitier made his feature-film directorial debut with the 1972 Western “Buck and the Preacher,” in which he co-starred with Belafonte. In the documentary, Belafonte says he believes that the movie was not a commercial success because mainstream movie audiences at the time just weren’t ready to see a movie centered on black cowboys. To be fair, Belafonte notes that black audiences didn’t really show up for the movie either. He comments that the movie’s adversaries were “black perception of itself and black perception as the world sees us.”
The documentary mentions the 1968 Western “Once Upon a Time in the West” (directed by Sergio Leone) as one of the few mainstream films of this era that actually had a black person in a significant speaking role: the character of Stony, played by Woody Strode. Although some might think of Stony as a black token, this representation mattered to a lot of people. As an example, it’s mentioned in the documentary that Isaac Hayes (who won an Oscar for composing the music to 1971’s “Shaft”) was influenced by Stony when writing film music.
“Is That Black Enough for You?!?” cites director George Romero’s 1968 horror classic “Night of the Living Dead” as the first hit movie to have a black man (Duane Jones, in the character of Ben) starring in an action hero role. Mitchell says in the narration that what was also groundbreaking about the film was that Ben’s race wasn’t the focal point of “The Night of the Living Dead,” because the movie was about people surviving a zombie invasion. Mitchell notes that “Night of the Living Dead” was embraced by a lot of African American militants at the time because of the parallels between what happened in the movie and what was going on with all the civil unrest in America.
Numerous other seminal feature films starring African Americans are mentioned in “Is That Black Enough for You?!?,” including 1969’s “Putney Swope” (directed by Robert Downey Sr.); 1971’s “Sweet Sweetback’s Baadasssss Song” (directed by Melvin Van Peebles); 1972’s “Super Fly”; 1972’s “Lady Sings the Blues” (directed by Sidney J. Furie); 1972’s “Sounder” (directed by Marvin Ritt); and 1974’s “Claudine” (directed by Jack Starrett). Impactful documentaries during this era included the 1970 Muhammad Ali biography “A.K.A. Cassius Clay” (directed by Jimmy Jacobs) and the 1973 concert film “Save the Children” (directed by Lathan).
“Is That Black Enough for You?!?” also celebrates some of the breakthrough African Americans who were Oscar nominees from 1968 to 1978, including Rupert Crosse (Best Supporting Actor nominee for 1969’s “The Reivers”), James Earl Jones (Best Actor nominee for 1970’s “The Great White Hope”), Diana Ross (Best Actress nominee for “Lady Sings the Blues”), Cicely Tyson (Best Actress nominee for “Sounder”), Paul Winfield (Best Actor nominee for “Sounder”) and Diahann Carroll (Best Actress nominee for “Claudine”). One of the people interviewed in the documentary is Suzanne de Passe, who became the first black woman to get a screenplay Oscar nomination (Best Original Screenplay), for co-writing “Lady Sings the Blues.”
Other people interviewed in the film include entertainers Samuel L. Jackson, Whoopi Goldberg, Laurence Fishburne, Glynn Turman, Zendaya, Billy Dee Williams, Sheila Frazier, Mario Van Peebles (son of Melvin Van Peebles), Margaret Avery, Roscoe Orman and Antonio Fargas. Louise Archambault Greaves (William Greaves’ widow) and “Super Fly” cinematographer James Signorelli also weigh in with their thoughts. Williams comments on his sex-symbol status that he had, beginning in the 1970s: “It was very funny to me. It was something that had never happened to me before.”
Frazier tells a memorable story about how she was initially rejected for the leading actress role in “Super Fly.” She was so hurt by this rejection that she changed her phone number, only to find out a few months later by randomly meeting one of the filmmakers that they had been trying to contact her during those months because they changed their mind. Fishburne talks about how he was originally cast in “Claudine,” but when Diane Sands (who originally was cast in the title role) died in 1973 of leiomyosarcoma (a rare form of muscle cancer), the filmmakers decided to make major recastings for the film.
Mario Van Peebles tells some great behind-the-scenes stories about his father Melvin, who pioneered the marketing tactic of releasing a movie’s soundtrack before the movie. (“Super Fly” used the same tactic to great success.) Mario Van Peebles says that his father used to have a secretary named Priscilla, who wanted to be an actress in “Sweet Sweetback’s Baadasssss Song,” but her boyfriend at the time (a member of Earth, Wind & Fire who is not named in the documentary) wouldn’t let her. However, as a compromise, Melvin convinced Earth, Wind & Fire to write the soundtrack music for the movie.
Mario Van Peebles also tells a story about how his father came up with a clever idea to convince nervous white studio executives to distribute the potentially controversial 1970 comedy film “Watermelon Man.” The movie was about a racist white man (played by African American actor Godfrey Cambridge), who woke up one morning to find out that he had turned into a black man. Mario says that before the meeting with the studio executives, his father payed an African American sanitation worker in the building to be in the screening room and laugh at the jokes in the movie while the executives watched “Watermelon Man.” This “one-man focus group” tactic worked, says Mario Van Peebles, who describes this tactic as being “like racial jiu jitsu.”
The “blaxploitation” films of the 1970s (include those made by actor/producer Rudy Ray Moore) have their share of fans and critics. As mentioned in the documentary, the upside to the “blaxploitation” genre of this era is that they were the first major hit films to have African American women as the central action stars, not just as sidekicks or supporting players. Pam Grier and Tamara Dobson are credited with being pioneers for African American female action stars, with Grier’s 1973 film “Coffy” and Dobson’s 1973 film “Cleopatra Jones” mentioned as their most influential movies. The documentary also mentions some of the low points in blaxploitation films, including “Mandingo” and “Coonskin,” both released in 1975.
This era of African American-oriented filmmaking also gave rise to a new wave of African American movie stars who came from backgrounds other than acting. Ross was famous for being in the Supremes and had a successful solo singing career when she landed her first movie star role in “Lady Sings the Blues.” Richard Pryor was a well-known stand-up comedian before he had his movie breakthrough in “Lady Sings the Blues.” Jim Brown was a football star before he launched his movie career, which included action films such as 1968’s “Kenner” and 1972’s “Black Gunn.”
One of the best things about “Is That Black Enough for You?!?” (which has great editing by Michael Engelken and Doyle Esch) is that this documentary doesn’t just spotlight mainstream hits but it also gives screen time to underrated movie gems that prominently feature African Americans. Greaves’ 1968 “Symbiopsychotaxiplasm: Take One” is mentioned as an important experimental film from an African American filmmaker. The 1972 drama “Black Girl” (directed by Davis) is described as an often-overlooked African American movie that’s worth watching.
The 1976 musical drama “Sparkle” (directed by Sam O’Steen) is cited as an influential precursor to the “Dreamgirls” stage musical and movie. The 1975 urban drama “Cornbread, Earl and Me” (directed by Joseph Manduke) was influential to 1991’s “Boyz N the Hood,” says “Boyz N the Hood” co-star Fishburne. And before black superheroes got their own movies with 1997’s “Spawn,” 1998’s “Blade” or 2018’s “Black Panther,” there was 1977’s “Abar, the First Black Superman,” directed by Frank Packard.
The commercial disappointment of the 1978 movie musical “The Wiz” is mentioned as the end of an era, because movie executives began to think that African American-oriented movies were starting to become less popular with the moviegoing public. It then became harder for African American-oriented movies to get financing until a new renaissance emerged in the 1990s, with hit films such as “Boyz N the Hood,” “House Party,” “Menace II Society,” “Friday,” “Set It Off,” “The Best Man” and “Soul Food.” If Mitchell or any other filmmakers want to do a documentary about the 1990s renaissance of African American movies, there would be plenty of people who would be interested.
“Is That Black Enough for You?!?” is more than a love letter to the movies of 1968 to 1978 that celebrated African Americans. It’s also a full immersion into a fascinating culture with a narrative that is very thoughtful and almost poetic. (For example, Mitchell has this to say about some of the music of the movies featured in the documentary: “The scores weren’t just textures, but detonation of thought and sound.”) It’s a documentary that gives people a better appreciation for these movies, as well as inspiration and anticipation for any more creativity to come in African American-oriented filmmaking.
Netflix released “Is That Black Enough for You?!?” in select U.S. cinemas on October 28, 2022. The movie premiered on Netflix on November 11, 2022.
Culture Representation: Taking place in New York City, the superhero action film “Spider-Man: No Way Home” features a predominantly white cast of characters (with a few African Americans and Asians) representing the working-class, middle-class and wealthy.
Culture Clash: After 17-year-old Peter Parker has been exposed as the alter ego of Spider-Man, he enlists the help of mystical superhero Doctor Strange to make people forget this secret identity, but Doctor Strange’s spell brings several allies and enemies back from various dimensions of the Spider-Verse.
Culture Audience: Besides appealing to the obvious target audience of comic book movie fans, “Spider-Man: No Way Home” will appeal primarily to people who like nostalgia-filled superhero movies and who are fans of this movie’s star-studded cast.
Tom Holland and Alfred Molina) in “Spider-Man: No Way Home” (Photo courtesy of Columbia Pictures)
Just like an artist’s greatest-hits box set offered to fans who already own every album by the artist, “Spider-Man: No Way Home” is best appreciated by people who’ve already seen all the previous “Spider-Man” movies. It’s filled with insider jokes that will either delight or annoy viewers, depending on how familiar they are with the cinematic Spider-Verse. Simply put: “Spider-Man: No Way Home” is an epic superhero feast for fans, but it should not be the first “Spider-Man” movie that people should see. There are too many references to other Spider-Man movies that came before “Spider-Man: No Way Home” that just won’t connect very well with people who have not seen enough of the previous “Spider-Man” movies.
Fortunately for the blockbuster “Spider-Man” movie franchise (which launched with 2002’s “Spider-Man,” starring Tobey Maguire as Peter Parker/Spider-Man), most people who watch “Spider-Man: No Way Home” will have already seen at least one previous “Spider-Man” movie. Maguire also starred in 2004’s “Spider-Man 2” and 2007’s “Spider-Man 3.” Andrew Garfield starred as Peter Parker/Spider-Man in two of the reboot movies: 2012’s “The Amazing Spider-Man” and 2014’s “The Amazing Spider-Man 2.” Another “Spider-Man” movie reboot series began with Tom Holland as Peter Parker/Spider-Man, starting with 2017’s “Spider-Man: Homecoming,” and continuing with 2019’s “Spider-Man: Far From Home” and 2021’s “Spider-Man: No Way Home.”
“Spider-Man: No Way Home” is the third “Spider-Man” movie directed by Jon Watts and co-written by Chris McKenna and Erik Sommers, the same writer/director team behind 2019’s “Spider-Man: Far From Home.” There were six screenwriters (including Watts, McKenna and Sommers) for 2017’s “Spider-Man: Homecoming,” which was also directed by Watts. The trio of Watts, McKenna and Sommers for three consecutive “Spider-Man” movies has been beneficial to the quality of the filmmaking.
Each “Spider-Man” film that this trio has worked on truly does feel connected to each other, compared to other franchise films where different directors and writers often change the tone of the sequels, and therefore the sequels feel disconnected. “Spider-Man: No Way Home” also makes several references to the Marvel Cinematic Universe (MCU), which Spider-Man/Peter Parker (as portrayed by Holland) was a big part of, in his alliance with the Avengers. It’s another reason why it’s better to see previous Marvel-related movies with Spider-Man in it before seeing “Spider-Man: No Way Home.”
Because Spider-Man is Marvel Comics’ most popular character, you’d have to be completely shut off from pop culture to not at least know a few things about Spider-Man, such as he got his agility superpowers by accidentally being bit by a radioactive spider. Just like many superheroes, Peter is an orphan: His parents died in a plane crash, so he was raised by an aunt and an uncle. Even with knowledge of these basic facts about Peter Parker/Spider-Man, it really is best to see all or most of the previous “Spider-Man” films, because the jokes will be funnier, and the surprises will be sweeter.
Speaking of surprises, the vast majority of “Spider-Man: No Way Home” has spoiler information. However, it’s enough to give a summary of what to expect in the first 30 minutes of this 148-minute film without revealing any surprises. The beginning of “Spider-Man: No Way Home” picks up right where “Spider-Man: Far From Home” left off: Peter Parker—an intelligent and compassionate 17-year-old student who lives in New York City’s Queens borough—has been exposed as the secret alter ego of superhero Spider-Man. The culprit who exposed him was the villain Mysterio (played by Jake Gyllenhaal), who’s seen briefly in “Spider-Man: No Way Home” in the opening scene that shows the aftermath of this exposé.
All hell breaks loose, because Mysterio has twisted things to make it look like Spider-Man is a villain, not a hero. Peter and his girlfriend MJ (played by Zendaya) are caught in the middle of a crowded New York City street when Peter’s Spider-Man identity is exposed. And the backlash is immediate. Before getting into any harmful physical danger, Spider-Man puts his superhero skills to good use by whisking himself and MJ to safety.
However, the Department of Damage Control quickly detains Peter, MJ, Peter’s best friend Ned Leeds (played by Jacob Batalon) and Peter’s aunt May Parker (played by Marisa Tomei) for questioning. And who shows up to give some legal advice? Attorney/blind superhero Matt Murdock, also known as Daredevil (played by Charlie Cox), who makes a very brief cameo. Matt says, “I don’t think any of the charges will stick. Things will get even worse. There’s still the court of public opinion.”
There’s not enough evidence to hold Peter and his loved ones in the interrogation rooms, so they go back home and ponder their next move. But how long can they stay safe, when people know where Peter lives and where he goes to school? Spider-Man has been branded as a troublemaker by certain people, such as fear-mongering journalist-turned-conspiracy theorist J. Jonah Jameson (played by J.K. Simmons), who no longer works as the editor of the Daily Planet newspaper. Jameson is now anchoring TheDailyPlanet.net, a 24-hour news streaming service.
However, Spider-Man is still a hero or an anti-hero to many more people. When Peter goes back to school the next day, he’s treated like a celebrity. Students surround him to take photos and videos with their phones. Faculty members fawn over him. Conceited and bullying student Flash Thompson (played by Tony Revolori), one of Peter’s nuisances at school, tries to latch on to Peter’s newfound fame by now claiming to be Peter’s best friend. Flash has already written a tell-all memoir to cash in on Peter’s celebrity status.
Peter, MJ (whose real name is Michelle Jones) and Ned are in their last year at Midtown School of Science and Technology. They have plans to go to the prestigious Massachusetts Institution of Technology (MIT) together after they graduate from high school. But due to their high-profile brush with the law, the three pals are worried about their chances of getting into MIT.
This hoped-for MIT enrollment becomes the motivation for Peter to go to fellow New York City-based superhero Doctor Strange (played by Benedict Cumberbatch) to ask for his help. Peter wants Doctor Strange to cast a spell so that people will forget that Peter is really Spider-Man. Doctor Strange is reluctant, but he gives in to Peter’s pleading. As Doctor Strange is casting his Spell of Forgetting, Peter interrupts several times to tell Doctor Strange to exempt some of Peter’s loved ones (such as MJ, Ned and May) from the spell.
Doctor Strange is extremely annoyed, so he cuts the spell short and is able to contain the spell’s powers in a cube-sized box. But some damage has already been done: The spell has opened the multi-verse where anyone who knows who Peter Parker can be summoned and go to the dimension where Peter is. And some of these individuals are villains from past “Spider-Man” movies. Doctor Strange gives Peter/Spider-Man the task of capturing these villains to imprison them in Doctor Strange’s dungeon that looks like a combination of a high-tech jail and a mystical crypt.
The return of some of these villains has already been announced through official publicity and marketing materials released for “Spider-Man: No Way Home,” so it’s not spoiler information. These villains are:
Norman Osborn/Green Goblin (played by Willem Dafoe), from 2002’s “Spider-Man”
Otto Octavius/Doctor Octopus, also known as Doc Ock (played by Alfred Molina), from 2004’s “Spider-Man 2”
Flint Marko/Sandman (played by Thomas Haden Church), from 2007’s “Spider-Man 3”
Dr. Curt Connors/The Lizard (played by Rhys Ifans), from 2012’s “The Amazing Spider-Man”
Max Dillon/Electro (played by Jamie Foxx), from 2014’s “The Amazing Spider-Man 2”
“Spider-Man: No Way Home” has some other surprises, some of which have already been leaked to the public, but won’t be revealed in this review. A few other non-surprise characters in “Spider-Man: No Way Home” include Doctor Strange’s portal-traveling sidekick Wong (played by Benedict Wong), as well as Harold “Happy” Hogan (played by Jon Favreau), Tony Stark/Iron Man’s loyal driver who is now taken on minder duties for Peter. In “Spider-Man: Far From Home,” Happy and May had a fling that ended. Happy fell in love with May and wanted a more serious romance with her, so he is still nursing a broken heart about it in “Spider-Man: No Way Home.”
The movie’s action sequences are among the most memorable in “Spider-Man” movie history, in large part because of the return of so many characters from the past. A lengthy part of the movie that takes place on the Statue of Liberty will be talked about by fans for years. Because so much of “Spider-Man” relies heavily on people knowing the history of this movie franchise to fully understand the plot developments and a lot of the dialogue, “Spider-Man: No Way Home” will probably be a “love it or hate it” film.
The movie’s mid-credits scene directly correlates to the mid-credits scene for 2021’s “Venom: Let There Be Carnage.” And the end-credits scene for “Spider-Man: No Way Home” features a glimpse into the world of Doctor Strange. People should know by now that movies with Marvel characters have mid-credits scenes and/or end-credits scenes that are essentially teasers for an upcoming Marvel superhero movie or TV series.
“Spider-Man: No Way Home” has some wisecracking that seems a little too self-congratulatory, but those smug moments are balanced out with some heartfelt emotional scenes. And all the jumping around from one universe dimension to the next might be a little too confusing to viewers who are new to the Spider-Verse. Some people might accuse “Spider-Man: No Way Home” of overstuffing the movie with too much nostalgic stunt casting as gimmicks. However, die-hard fans of the franchise will be utterly thrilled by seeing these familiar characters and will be fully engaged in finding out what happens to them in this very entertaining superhero adventure.
Columbia Pictures will release “Spider-Man: No Way Home” in U.S. cinemas on December 17, 2021.
Culture Representation: Taking place in the Los Angeles area and in an alternate technology universe, the live-action/animated film “Space Jam: A New Legacy” features a predominantly African American cast of characters (with some white people, Latinos and Asians) representing the middle-class and wealthy.
Culture Clash: A computer algorithm traps basketball superstar LeBron James in a technology universe, where he joins forces with Warner Bros.-owned Looney Tunes characters for a high-stakes basketball game against computer-generated villains that want to take over the world.
Culture Audience: Besides appealing to the obvious target audience of LeBron James fans and Looney Tunes fans, “Space Jam: A New Legacy” will appeal primarily to people interested in watching a mindless but harmless family film that overloads on shilling for various Warner Bros. entertainment products and services.
Cedric Joe and Don Cheadle in “Space Jam: A New Legacy” (Photo courtesy of Warner Bros. Pictures)
“Space Jam: A New Legacy” is not meant to be a real movie. It’s just a long and witless commercial for Warner Bros. entertainment entities, with LeBron James as a celebrity spokesperson. Even young children and gullible people will notice the over-the-top, shameless plugging of all things Warner Bros. in “Space Jam: A New Legacy.” It’s hard not to miss this obnoxious promotion, because it’s in every scene.
Directed by Malcolm D. Lee, “Space Jam: A New Legacy” is the sequel to 1996’s “Space Jam.” Both are hybrid live-action/animated movies about basketball superstars who team up with Warner Bros.-owned Looney Tunes characters to play against villains in a life-or-death basketball game. Michael Jordan starred in “Space Jam,” which was also a silly movie, but it had a lot more heart and sincerity than “Space Jam: A New Legacy,” which stars LeBron James.
Both “Space Jam” movies have celebrity athletes portraying themselves. All of these athletes have limited acting skills, even if some of these basketball icons have loads of charisma in real life. However, “Space Jam: A New Legacy” is a much more cynically made movie, because its highest priority is selling Warner Bros. characters and products. At least the first “Space Jam” movie made more of an attempt to be humorous and have several significant characters whose purpose was not to be a mascot for Warner Bros.
It’s not a good sign when a movie has more than four credited screenwriters, because it usually means that there were “too many cooks in the kitchen.” “Space Jam: A New Legacy” has six screenwriters: Celeste Ballard, Keenan Coogler, Jesse Gordon, Terence Nance, Tony Rettenmaier and Juel Taylor. And what’s even worse is that all of these “Space Jam: A New Legacy” screenwriters couldn’t come up with a truly original story for this sequel.
“Space Jam: A New Legacy” essentially copies the same template as “Space Jam,” with just a few changes, such as the reason for the big showdown basketball game that happens in the last third of the film. In “Space Jam,” Jordan has to do battle against basketball-playing monsters from outer space that were literally stealing the talent (by suctioning it out in gas form) from NBA stars. In “Space Jam: A New Legacy,” James has to do battle against a computer algorithm (which can take the shape of a man) that has stolen his younger son and created a team of monsters for the basketball showdown.
Each movie opens with a highlight montage of the basketball superstar’s career, up until the movie was made. Each movie has someone saying more than once, “You can’t be great without putting in the work.” Each movie ends exactly how you think it will end.
In “Space Jam: A New Legacy” LeBron’s 12-year-old son Dominic, nicknamed Dom (played by Cedric Joe), is a computer whiz and aspiring video game developer who has been kidnapped by a computer algorithm called Al G. Rhythm (played by Don Cheadle) into the algorithm’s universe called the Warner 3000 server-verse. Inside this server-verse exists everything Warner Bros., including Looney Tunes World.
Dom feels unappreciated and misunderstood by LeBron, who is pushing Dom to become a basketball star. Dom likes playing basketball and is on his school’s basketball team, but he’s an average player, and he doesn’t have the passion for the game like his father does. There’s a predictable scene in the beginning of the film where Dom is playing in a school game, and he misses a shot that causes the team to lose the game.
Dom wants to attend an E3 Game Design camp, but it’s taking place on the same weekend as a basketball camp that LeBron wants Dom to attend. Father and son argue about it. But in the end, LeBron is the adult in charge and tells Dom that he has no choice but to go to the basketball camp. Dom is predictably resentful about this decision and his father’s control over his life.
The rest of LeBron’s family are just filler characters that don’t get much screen time and don’t add much to the story. LeBron’s wife Kamiyah (played by Sonequa Martin-Green) chimes in early in the movie to say to LeBron about his parenting skills for Dom: “I’m worried that you’re pushing him too hard … He doesn’t need a coach. He needs a dad.”
In this movie, LeBron and Kamiyah have two other children: teenager Darius (played by Ceyair J Wright) and kindergarten-age Xosha (played by Harper Leigh Alexander). Darius’ only purpose in the movie is to be a teasing older brother and occasional basketball practice opponent with Dom. Xosha’s only purpose in the movie is to be a cute and charming kid.
Because “Space Jam: Legacy” is a Warner Bros. commercial, LeBron and takes Dom with him to a business meeting at Warner Bros. Studios headquarters in Burbank, California. Also in this meeting is LeBron’s childhood friend Malik (played by Khris Davis), who is now LeBron’s manager. It’s at Warner Bros. headquarters that viewers first see Al G. Rhythm giving a monologue, as he lurks in the recesses of some giant computer mainframe somewhere in a back room.
Al G. Rhythm can take many different shapes and forms, but he comes out looking like Cheadle when he wants to look like a human. Al G. Rhythm has concocted an idea to use Warner 3000 technology to scan LeBron into Warner Bros. movies so that LeBron’s image can replace major characters in these movies. Warner Bros. executives will present this idea to LeBron in this meeting. The unnamed executives are portrayed in cameo roles by Sarah Silverman and Steven Yeun, who look like they know they’re in a dumb movie and just want a quick and easy paycheck.
Al G. Rhythm has a sidekick named Pete, which is a mute blue blob that doesn’t do much but act as a sounding board for Al G. Rhythm. Before the meeting takes place, Al G. Rhythm gives this monologue: “I’ve searched far and wide for the perfect partner for this launch. And I finally found him, Pete. He’s a family man, an entrepreneur, a social media superstar, with millions of fans worldwide. Algorithmically speaking, he’s more than an athlete. He’s a king!”
Is this an algorithm or a LeBron James fanboy? Al G. Rhythm then continues with his ranting manifesto, “I’m stuck in the server-verse. No one knows who I am or what I do. But all that changes today, because Warner Bros. launches the revolutionary technology that I masterminded. Today, it’s my time to shine! Once I partner with King James and combine his fame with my incredible tech, I will finally get the recognition and respect that I so richly deserve!”
There’s just one big problem. In the business meeting, LeBron says he hates the idea of being scanned and put into Warner Bros. movies as a replacement character. (But in real life, apparently, he had no problem being put into a Warner Bros. commercial posing as a movie.) The sycophantic executives agree, and the idea is scrapped.
Al G. Rhythm is angry and insulted that his idea was rejected, so he kidnaps Dom, who becomes trapped in the server-verse. And the only way that Dom can be returned to his family is if LeBron and a basketball team that LeBron has assembled win in a “death match” game against Al G. Rhythm and the villain basketball team that Al G. Rhythm has assembled. All of this requires LeBron to go in the server-verse to find Dom. When LeBron (in animated form) ends up in Looney Tunes World, you know what happens next.
At first, LeBron arrives in Looney Tunes World in simplistic animated form. But then, Al G. Rhythm shows up to “enhance” all the players who will be on Lebron’s basketball team, so they go from looking like hand-drawn 2-D animation to computer-generated 3-D animation. The team is called the Tune Squad. The Looney Tunes characters who are on LeBron’s team act exactly how you would expect them to act.
The “Space Jam: A New Legacy” filmmakers got their money’s worth because a small number of voice actors protray several of the Looney Tunes characters, instead having all of the characters each voiced by a different actor. Jeff Bergman is the voice of Bugs Bunny, Sylvester, Yosemite Sam, Fred Flintstone and Yogi Bear. Eric Bauza is the voice of Daffy Duck, Porky Pig, Foghorn Leghorn, Elmer Fudd and Marvin the Martian. Gabriel Iglesias is the voice of Speedy Gonzales. Zendaya is the voice of Lola Bunny. Candi Milo is the voice of Granny. Bob Bergen is the voice of Tweety Bird. Fred Tatasciore is the voice of Taz.
In opposition to the Tune Squard, Al G. Rhythm has created the Good Squad by enhancing real-life NBA and WNBA star players into computerized mutant super-villains. Anthony Davis is The Brow, a giant blue falcon-like creature with a 30-foot wing span. Diana Taurasi is White Mamba, a super-sized mutant snake. Klay Thompson is Wet/Fire, a creature that can create flames and water, as if that wouldn’t be considered a major foul on a basketball court. Nneka Ogwumike is Arachnneka, a large mutant spider. Damien Lillard is Chronos, a time-manipulating creature that can use Dame Time to slow down opponents while he can quickly use fighting techniques.
The big basketball showdown that serves as the movie’s climax is so formulaic that it will be easy to get distracted by trying to spot all the characters from Warner Bros. movies that are in the audience. The audience is supposed to consists of thousands of LeBron’s social media followers who were beamed in from the Internet. But somehow, those who ended up getting the most prominent placement in the front rows were various characters from Warner Bros.-owned entertaint entities, such as Harry Potter, King Kong, Joker, Wonder Woman, Batman, Superman, Scooby-Doo, Neo from “The Matrix,” Austin Powers, plus characters from “The Wizard of Oz,” “Game of Thrones,” “Gremlins,” “The Mask,” and “Mad Max: Fury Road.”
Some of the Warner Bros. promotion overload is ridiculous and embarrassing to those involved. There’s a scene where Bugs Bunny is dressed as Batman and LeBron is dressed as Robin. There’s a scene where Porky Pig starts rapping in a way that’s has as much hip-hop cred as Judy Garland singing in “The Wizard of Oz.” (In other words: none.)
And there’s even a scene where Al G. Rhythm yells, “King Kong’s got nothing on me!” It’s a famous line said by Denzel Washington in his Oscar-winning role as a corrupt cop in 2001’s “Training Day,” which is (you guessed it) a Warner Bros. movie. After Al G. Rhythm shouts, “King Kong’s got nothing on me!,” King Kong is shown in the audience, crossing his arms in a snit, like a kid who’s been insulted on a playground.
The “family-friendly” messages of “Space Jam: Legacy” are secondary to the constant regurgitation of whatever “intellectual property” Warner Bros. is hawking. The word “inellectual” is an oxymoron for this idiotic film. The animation and visual effects aren’t going to be nominated for any major awards. Much of what happens in the movie is duller than it should be. And even the big basketball game toward the end isn’t very exciting. There’s a big “reveal” about someone on the Goon Squad that’s not surprising at all.
Cheadle is the movie’s only live-action cast member who seems to be having some fun because his performance is deliberately campy. His computer algorithm character has more personality than the human characters in this movie. The rest of the cast members in the movie’s live-action roles give mediocre and bland performances.
Ernie Johnson and Lil Rel Howery portray the basketball game’s announcers in what should have been hilarious roles, but everything these characters say is uninteresting. And unlike the original songs in the first “Space Jam” movie (which featured R. Kelly’s “I Believe I Can Fly”), none of the original songs in “Space Jam: A New Legacy” will become a hit anthem. The lines of dialogue given to the animated characters are also forgettable. The jokes fall flatter than Daffy Duck’s beak.
And as for LeBron James (who is one of the producers of “Space Jam: A New Legacy”), even the filmmakers know he wasn’t cast in this movie for his acting, because he says this line in the movie’s scene with the Warner Bros. executives: “I’m a ball player. And athletes acting—that never goes well.” That’s probably one of the most genuine things said in this overly contrived corporate movie that pushes plenty to sell but ultimately has a shortage of good filmmaking.
Warner Bros. Pictures released “Space Jam: A New Legacy” in U.S. cinemas and on HBO Max on July 16, 2021. The movie is set for release on digital and VOD on September 3, 2021, and on Blu-ray and DVD on October 5, 2021.
THE OSCARS – Key Art. (ABC) Artwork by Victoria Villasana.
THE OSCARS – Key Art. (ABC) Artwork by Petra Eriksson.
THE OSCARS – Key Art. (ABC) Artwork by Magnus Voll Mathiassen.
THE OSCARS – Key Art. (ABC) Artwork by Michelle Robinson.
THE OSCARS – Key Art. (ABC) Artwork by Shawna X.
THE OSCARS – Key Art. (ABC) Artwork by Karan Singh.
The following is a combination of press releases from ABC:
Oscar® nominee Steven Yeun will join the ensemble cast slated to present at the 93rd Oscars®, show producers Jesse Collins, Stacey Sher and Steven Soderbergh announced today. “The Oscars” will air live on Sunday, April 25, 2021, on ABC.
“Surprise! We’re so excited to welcome Steven to the crew, and he completes our Oscars cast. No, really, this is it,” said Collins, Sher and Soderbergh.
The previously announced lineup includes Riz Ahmed, Angela Bassett, Halle Berry, Don Cheadle, Bryan Cranston, Viola Davis, Laura Dern, Harrison Ford, Bong Joon Ho, Regina King, Marlee Matlin, Rita Moreno, Joaquin Phoenix, Brad Pitt, Reese Witherspoon, Renée Zellweger and Zendaya.
Joaquin Phoenix, Renée Zellweger and Brad Pitt at the 92nd annual Academy Awards at the Dolby Theatre in Los Angeles on February 9, 2020. (Photo by Rick Rowell/ABC)
Regina King at the 92nd annual Academy Awards at the Dolby Theatre in Los Angeles on February 9, 2020. (Photo by Rick Rowell/ABC)
Rita Moreno at the 90th Annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo by Michael Baker/A.M.P.A.S.)
Bong Joo Ho at the 92nd annual Academy Awards at the Dolby Theatre in Los Angeles on February 9, 2020. (Photo by Rick Rowell/ABC)
Viola Davis at the 90th Annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo by Rick Rowell/ABC)
Riz Ahmed at the 89th Annual Academy Awards at the Dolby Theatre in Los Angeles on February 26, 2017. (Photo by Tyler Golden/ABC)
Laura Dern at the 92nd annual Academy Awards at the Dolby Theatre in Los Angeles on February 9, 2020. (Photo by Rick Rowell/ABC)
Halle Berry at the 89th Annual Academy Awards at the Dolby Theatre in Los Angeles on February 26, 2017. (Photo by Tyler Golden/ABC)
Celeste, H.E.R., Leslie Odom Jr., Laura Pausini, Daniel Pemberton, Molly Sandén and Diane Warren will perform the five nominated original songs in their entirety for “Oscars: Into the Spotlight,” the lead-in to the 93rd Oscars. One performance will be recorded in Húsavík, Iceland, and four at the Dolby Family Terrace of the Academy Museum of Motion Pictures in Los Angeles. Hosted by actors Ariana DeBose (“Hamilton”) and Lil Rel Howery (“Bad Trip”), the 90-minute “Oscars: Into the Spotlight” will highlight the nominees’ journey to Hollywood’s biggest night, give fans around the world the ultimate insiders’ sneak peek to the party and, for the first time, bring Oscar music to the festivities. The show will feature a special appearance by DJ Tara. “Oscars: Into the Spotlight” will air Oscar Sunday, April 25, at 6:30 p.m. EDT/3:30 p.m. PDT.
Leslie Odom Jr. in “Oscars: Into the Spotlight” (Photo courtesy of ABC)
H.E.R. in “Oscars: Into the Spotlight” (Photo courtesy of ABC)
Laura Pausini in “Oscars: Into the Spotlight” (Photo courtesy of ABC)
Celeste in “Oscars: Into the Spotlight” (Photo courtesy of ABC)
Molly Sandén in “Oscars: Into the Spotlight” (Photo courtesy of ABC)
THE OSCARS¨ – Key Art. (ABC) Artwork by Temi Coker.
The 93rd Oscars will be held on Sunday, April 25, 2021, at Union Station Los Angeles and the Dolby® Theatre at Hollywood & Highland Center® in Hollywood, and international locations via satellite. “Oscars: Into the Spotlight” will air live on ABC at 6:30 p.m. EDT/3:30 p.m. PDT. “The Oscars” will be televised live on ABC at 8 p.m. EDT/5 p.m. PDT and in more than 200 territories worldwide. “Oscars: After Dark” will immediately follow the Oscars show.
ABOUT THE ACADEMY The Academy of Motion Picture Arts and Sciences is a global community of more than 10,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures.
Frances McDormand in “Nomadland” (Photo courtesy of Searchlight Pictures)
March 7, 2021
by Carla Hay
With four prizes, including Best Picture, the Searchlight Pictures drama “Nomadland” was the top movie winner at the 26th annual Critics Choice Awards, which took place as a virtual ceremony on March 7, 2021. The main ceremony was held at Barker Hangar in Sana Monica, California, but the nominees were in various locations (because of social distancing) and televised through video links. Taye Diggs was the host of the show, which was televised in the U.S. on The CW Network. For TV shows, the Netflix drama series “The Crown” was the top winner, with four prizes, including Best Drama Series. The Critics Choice Association votes for the nominees and winners. The complete list of winners is at the end of this article.
There were no musical performances at the award show, as there have been in previous years. Instead, host Diggs interviewed some of the nominees, including Gillian Anderson and Riz Ahmed, by video. In addition, several of the nominees in the same category shared their thoughts on various topics. For example, the nominees for Best Comedy Special listed their favorite comedy movies.
Zendaya received the fifth annual SeeHer Award, which is a non-competitive prize. The recipient of the SeeHer Award is announced before the ceremony takes place. According to a press release from The CW: “The SeeHer Award recognizes a woman who embodies the values set forth by the SeeHer movement, to push boundaries, defy stereotypes and acknowledge the importance of authentic portrayals of women across the entertainment landscape. SeeHer is the leading global movement for accurate portrayals of women and girls in media. Led by the Association of National Advertisers (ANA), SeeHer is a collective of leading marketers, media organizations and industry influencers committed to creating advertising and media content that portrays women and girls as they truly are. Previous award recipients are Kristen Bell, Viola Davis, Claire Foy, and Gal Gadot.”
Other big winners, with three awards each, were the Netflix dramatic movie “Ma Rainey’s Black Bottom” and the Apple TV+ comedy series “Ted Lasso.” The Netflix dramatic film “Da 5 Bloods,” although it received six nominations, ultimately didn’t win any Critics Choice Awards. The Netflix dramatic movie “Mank” went into the award show with the most nominations (12), and ended up winning one prize: Best Production Design.
Here is the complete list of winners and nominees for the 2021 Critics’ Choice Awards:
FILM NOMINATIONS FOR THE 26TH ANNUAL CRITICS CHOICE AWARDS
BEST PICTURE
“Da 5 Bloods” (Netflix) “Ma Rainey’s Black Bottom” (Netflix) “Mank” (Netflix) “Minari” (A24) “News of the World” (Universal Pictures) “Nomadland” (Searchlight Pictures)* “One Night in Miami” (Amazon Studios) “Promising Young Woman” (Focus Features) “Sound of Metal” (Amazon Studios) “The Trial of the Chicago 7” (Netflix)
BEST ACTOR Ben Affleck – “The Way Back” (Warner Bros.) Riz Ahmed – “Sound of Metal” (Amazon Studios) Chadwick Boseman – “Ma Rainey’s Black Bottom” (Netflix)* Tom Hanks – “News of the World” (Universal Pictures) Anthony Hopkins – “The Father” (Sony Pictures Classics) Delroy Lindo – “Da 5 Bloods” (Netflix) Gary Oldman – “Mank” (Netflix) Steven Yeun – “Minari” (A24)
BEST ACTRESS Viola Davis – “Ma Rainey’s Black Bottom” (Netflix) Andra Day – “The United States vs. Billie Holiday” (Hulu) Sidney Flanigan – “Never Rarely Sometimes Always” (Focus Features) Vanessa Kirby – “Pieces of a Woman” (Netflix) Frances McDormand – “Nomadland” (Searchlight Pictures) Carey Mulligan – “Promising Young Woman” (Focus Features)* Zendaya – “Malcolm & Marie” (Netflix)
BEST SUPPORTING ACTOR Chadwick Boseman – “Da 5 Bloods” (Netflix) Sacha Baron Cohen – “The Trial of the Chicago 7” (Netflix) Daniel Kaluuya – “Judas and the Black Messiah” (Warner Bros.)* Bill Murray – “On the Rocks” (A24/Apple TV+) Leslie Odom, Jr. – “One Night in Miami” (Amazon Studios) Paul Raci – “Sound of Metal” (Amazon Studios)
BEST SUPPORTING ACTRESS Maria Bakalova – “Borat Subsequent Moviefilm” (Amazon Studios)* Ellen Burstyn – “Pieces of a Woman” (Netflix) Glenn Close – “Hillbilly Elegy” (Netflix) Olivia Colman – “The Father” (Sony Pictures Classics) Amanda Seyfried – “Mank” (Netflix) Yuh-Jung Youn – “Minari” (A24)
BEST YOUNG ACTOR/ACTRESS Ryder Allen – “Palmer” (Apple TV+) Ibrahima Gueye – “The Life Ahead” (Netflix) Alan Kim – “Minari” (A24)* Talia Ryder – “Never Rarely Sometimes Always” (Focus Features) Caoilinn Springall – “The Midnight Sky” (Netflix) Helena Zengel – “News of the World” (Universal Pictures)
BEST ACTING ENSEMBLE “Da 5 Bloods” (Netflix) “Judas and the Black Messiah” (Warner Bros.) “Ma Rainey’s Black Bottom” (Netflix) “Minari” (A24) “One Night in Miami” (Amazon Studios) “The Trial of the Chicago 7” (Netflix)*
BEST DIRECTOR Lee Isaac Chung – “Minari” (A24) Emerald Fennell – “Promising Young Woman” (Focus Features) David Fincher – “Mank” (Netflix) Spike Lee – “Da 5 Bloods” (Netflix) Regina King – “One Night in Miami” (Amazon Studios) Aaron Sorkin – “The Trial of the Chicago 7” (Netflix) Chloé Zhao – “Nomadland” (Searchlight Pictures)*
BEST ORIGINAL SCREENPLAY Lee Isaac Chung – “Minari” (A24) Emerald Fennell – “Promising Young Woman” (Focus Features)* Jack Fincher – “Mank” (Netflix) Eliza Hittman – “Never Rarely Sometimes Always” (Focus Features) Darius Marder and Abraham Marder – “Sound of Metal” (Amazon Studios) Aaron Sorkin – “The Trial of the Chicago 7” (Netflix)
BEST ADAPTED SCREENPLAY Paul Greengrass and Luke Davies – “News of the World” (Universal Pictures) Christopher Hampton and Florian Zeller – “The Father” (Sony Pictures Classics) Kemp Powers – “One Night in Miami” (Amazon Studios) Jon Raymond & Kelly Reichardt – “First Cow” (A24) Ruben Santiago-Hudson – “Ma Rainey’s Black Bottom” (Netflix) Chloé Zhao – “Nomadland” (Searchlight Pictures)*
BEST CINEMATOGRAPHY Christopher Blauvelt – “First Cow” (A24) Erik Messerschmidt – “Mank” (Netflix) Lachlan Milne – “Minari” (A24) Joshua James Richards – “Nomadland” (Searchlight Pictures)* Newton Thomas Sigel – “Da 5 Bloods” (Netflix) Hoyte Van Hoytema – “Tenet” (Warner Bros.) Dariusz Wolski – “News of the World” (Universal Pictures)
BEST PRODUCTION DESIGN Cristina Casali, Charlotte Dirickx – “The Personal History of David Copperfield” (Searchlight Pictures) David Crank, Elizabeth Keenan – “News of the World” (Universal Pictures) Nathan Crowley, Kathy Lucas – “Tenet” (Warner Bros.) Donald Graham Burt, Jan Pascale – “Mank” (Netflix)* Kave Quinn, Stella Fox – “Emma” (Focus Features) Mark Ricker, Karen O’Hara and Diana Stoughton – “Ma Rainey’s Black Bottom” (Netflix)
BEST EDITING Alan Baumgarten – “The Trial of the Chicago 7” (Netflix)* (tie) Kirk Baxter – “Mank” (Netflix) Jennifer Lame – “Tenet” (Warner Bros.) Yorgos Lamprinos – “The Father” (Sony Pictures Classics) Mikkel E. G. Nielsen – “Sound of Metal” (Amazon Studios)* (tie) Chloé Zhao – “Nomadland” (Searchlight Pictures)
BEST COSTUME DESIGN Alexandra Byrne – “Emma” (Focus Features) Bina Daigeler – “Mulan” (Disney) Suzie Harman and Robert Worley – “The Personal History of David Copperfield” (Searchlight Pictures) Ann Roth – “Ma Rainey’s Black Bottom” (Netflix)* Nancy Steiner – “Promising Young Woman” (Focus Features) Trish Summerville – “Mank” (Netflix)
BEST HAIR AND MAKEUP “Emma” (Focus Features) “Hillbilly Elegy” (Netflix) “Ma Rainey’s Black Bottom” (Netflix)* “Mank” (Netflix) “Promising Young Woman” (Focus Features) “The United States vs. Billie Holiday” (Hulu)
BEST VISUAL EFFECTS “Greyhound” (Apple TV+) “The Invisible Man” (Universal Pictures) “Mank” (Netflix) “The Midnight Sky” (Netflix) “Mulan” (Disney) “Tenet” (Warner Bros. Pictures)* “Wonder Woman 1984” (Warner Bros.)
BEST COMEDY “Borat Subsequent Moviefilm” (Amazon Studios) “The Forty-Year-Old Version” (Netflix) “The King of Staten Island” (Universal Pictures) “On the Rocks” (A24/Apple TV+) “Palm Springs” (Hulu and NEON)* “The Prom” (Netflix)
BEST FOREIGN LANGUAGE FILM “Another Round” (Samuel Goldwyn Films) “Collective” (Magnolia Pictures) “La Llorona” (Shudder) “The Life Ahead” (Netflix) “Minari” (A24)* “Two of Us” (Magnolia Pictures)
BEST SONG “Everybody Cries” – “The Outpost” (Screen Media Films) “Fight for You” – “Judas and the Black Messiah” (Warner Bros.) “Husavik (My Home Town)” – “Eurovision Song Contest: The Story of Fire Saga” (Netflix) “Io sì” (Seen) – “The Life Ahead” (Netflix) “Speak Now” – “One Night in Miami” (Amazon Studios)* “Tigress & Tweed” – “The United States vs. Billie Holiday” (Hulu)
BEST SCORE Alexandre Desplat – “The Midnight Sky” (Netflix) Ludwig Göransson – “Tenet” (Warner Bros.) James Newton Howard – “News of the World” (Universal Pictures) Emile Mosseri – “Minari” (A24) Trent Reznor and Atticus Ross – “Mank” (Netflix) Trent Reznor, Atticus Ross, and Jon Batiste – “Soul” (Disney)*
SERIES NOMINATIONS FOR THE 26TH ANNUAL CRITICS CHOICE AWARDS
BEST DRAMA SERIES “Better Call Saul” (AMC) “The Crown” (Netflix)* “The Good Fight” (CBS All Access) “Lovecraft Country” (HBO) “The Mandalorian” (Disney+) “Ozark” (Netflix) “Perry Mason” (HBO) “This Is Us” (NBC)
BEST ACTOR IN A DRAMA SERIES Jason Bateman – “Ozark” (Netflix) Sterling K. Brown – “This Is Us” (NBC) Jonathan Majors – “Lovecraft Country” (HBO) Josh O’Connor – “The Crown” (Netflix)* Bob Odenkirk – “Better Call Saul” (AMC) Matthew Rhys – “Perry Mason” (HBO)
BEST ACTRESS IN A DRAMA SERIES Christine Baranski – “The Good Fight” (CBS All Access) Olivia Colman – “The Crown” (Netflix) Emma Corrin – “The Crown” (Netflix)* Claire Danes – “Homeland” (Showtime) Laura Linney – “Ozark” (Netflix) Jurnee Smollett – “Lovecraft Country” (HBO)
BEST SUPPORTING ACTOR IN A DRAMA SERIES Jonathan Banks – “Better Call Saul” (AMC) Justin Hartley – “This Is Us” (NBC) John Lithgow – “Perry Mason” (HBO) Tobias Menzies – “The Crown” (Netflix) Tom Pelphrey – “Ozark” (Netflix) Michael K. Williams – “Lovecraft Country” (HBO)*
BEST SUPPORTING ACTRESS IN A DRAMA SERIES Gillian Anderson – “The Crown” (Netflix)* Cynthia Erivo – “The Outsider” (HBO) Julia Garner – “Ozark” (Netflix) Janet McTeer – “Ozark” (Netflix) Wunmi Mosaku – “Lovecraft Country” (HBO) Rhea Seehorn – “Better Call Saul” (AMC)
BEST COMEDY SERIES “Better Things” (FX) “The Flight Attendant” (HBO Max) “Mom” (CBS) “PEN15” (Hulu) “Ramy” (Hulu) “Schitt’s Creek” (Pop) “Ted Lasso” (Apple TV+)* “What We Do in the Shadows” (FX)
BEST ACTOR IN A COMEDY SERIES Hank Azaria – “Brockmire” (IFC) Matt Berry – “What We Do in the Shadows” (FX) Nicholas Hoult – “The Great” (Hulu) Eugene Levy – “Schitt’s Creek” (Pop) Jason Sudeikis – “Ted Lasso” (Apple TV+)* Ramy Youssef – “Ramy” (Hulu)
BEST ACTRESS IN A COMEDY SERIES Pamela Adlon – “Better Things” (FX) Christina Applegate – “Dead to Me” (Netflix) Kaley Cuoco – “The Flight Attendant” (HBO Max) Natasia Demetriou – “What We Do in the Shadows” (FX) Catherine O’Hara – “Schitt’s Creek” (Pop)* Issa Rae – “Insecure” (HBO)
BEST SUPPORTING ACTOR IN A COMEDY SERIES William Fichtner – “Mom” (CBS) Harvey Guillén – “What We Do in the Shadows” (FX) Daniel Levy – “Schitt’s Creek” (Pop)* Alex Newell – “Zoey’s Extraordinary Playlist” (NBC) Mark Proksch – “What We Do in the Shadows” (FX) Andrew Rannells – “Black Monday” (Showtime)
BEST SUPPORTING ACTRESS IN A COMEDY SERIES Lecy Goranson – “The Conners” (ABC) Rita Moreno – “One Day at a Time” (Pop) Annie Murphy – “Schitt’s Creek” (Pop) Ashley Park – “Emily in Paris” (Netflix) Jaime Pressly – “Mom” (CBS) Hannah Waddingham – “Ted Lasso” (Apple TV+)*
BEST LIMITED SERIES “I May Destroy You” (HBO) “Mrs. America” (FX) “Normal People” (Hulu) “The Plot Against America” (HBO) “The Queen’s Gambit” (Netflix)* “Small Axe” (Amazon Studios) “The Undoing” (HBO) “Unorthodox” (Netflix)
BEST MOVIE MADE FOR TELEVISION “Bad Education” (HBO) “Between the World and Me” (HBO) “The Clark Sisters: First Ladies of Gospel” (Lifetime) “Hamilton” (Disney+)* “Sylvie’s Love” (Amazon Studios) “What the Constitution Means to Me” (Amazon Studios)
BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION John Boyega – “Small Axe” (Amazon Studios)* Hugh Grant – “The Undoing” (HBO) Paul Mescal – “Normal People” (Hulu) Chris Rock – “Fargo” (FX) Mark Ruffalo – “I Know This Much is True” (HBO)* Morgan Spector – “The Plot Against America” (HBO)
BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Cate Blanchett – “Mrs. America” (FX) Michaela Coel – “I May Destroy You” (HBO) Daisy Edgar-Jones – “Normal People” (Hulu) Shira Haas – “Unorthodox” (Netflix) Anya Taylor-Joy – “The Queen’s Gambit” (Netflix)* Tessa Thompson – “Sylvie’s Love” (Amazon Studios)
BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Daveed Diggs – “The Good Lord Bird” (Showtime) Joshua Caleb Johnson – “The Good Lord Bird” (Showtime) Dylan McDermott – “Hollywood” (Netflix) Donald Sutherland – “The Undoing” (HBO)* Glynn Turman – “Fargo” (FX) John Turturro – “The Plot Against America” (HBO)
BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Uzo Aduba – “Mrs. America” (FX)* Betsy Brandt – “Soulmates” (AMC) Marielle Heller – “The Queen’s Gambit” (Netflix) Margo Martindale – “Mrs. America” (FX) Winona Ryder – “The Plot Against America” (HBO) Tracey Ullman – “Mrs. America” (FX)
BEST TALK SHOW “Desus & Mero” (Showtime) “Full Frontal with Samantha Bee” (TBS) “The Kelly Clarkson Show” (NBC/Syndicated) “Late Night with Seth Meyers” (NBC)* “The Late Show with Stephen Colbert” (CBS) “Red Table Talk” (Facebook Watch)
BEST COMEDY SPECIAL “Fortune Feimster: Sweet & Salty” (Netflix) “Hannah Gadsby: Douglas” (Netflix) “Jerry Seinfeld: 23 Hours to Kill” (Netflix)* “Marc Maron: End Times Fun” (Netflix) “Michelle Buteau: Welcome to Buteaupia” (Netflix) “Patton Oswalt: I Love Everything” (Netflix)
BEST SHORT FORM SERIES “The Andy Cohen Diaries” (Quibi) “Better Call Saul: Ethics Training with Kim Wexler” (AMC/YouTube)* “Mapleworth Murders” (Quibi) “Nikki Fre$h” (Quibi) “Reno 911!” (Quibi) “Tooning Out the News” (CBS All Access)
The following is a press release from the Academy of Television Arts and Sciences:
Michael Douglas at the 76th Annual Golden Globe Awards at the Beverly Hilton Hotel in Beverly Hills, California, on January 6, 2019. (Photo by Paul Drinkwater/NBC)
Viola Davis at the 90th annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo Craig Sjodin/ABC)
Jimmy Kimmel at the 90th annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo by Craig Sjodin/ABC)
The Television Academy and Emmy Awards telecast producers Don Mischer Productions and Done+Dusted announced the first group of talent set to present the iconic Emmy statuettes at the 71st Emmy Awards on Sunday, September 22.
The presenters include:
Angela Bassett* (9-1-1 and The Flood)
Stephen Colbert* (The Late Show with Stephen Colbert)
Viola Davis* (How to Get Away with Murder)
Michael Douglas* (The Kominsky Method)
Taraji P. Henson (Empire)
Terrence Howard (Empire)
Jimmy Kimmel* (Jimmy Kimmel Live)
Peter Krause (9-1-1)
Seth Meyers* (Late Night With Seth Meyers and Documentary Now!)
Billy Porter* (Pose)
Naomi Watts (The Loudest Voice)
Zendaya (Euphoria)
The cast of Game of Thrones: Alfie Allen*, Gwendoline Christie*, Emilia Clarke*, Peter Dinklage*, Kit Harington*, Lena Headey*, Sophie Turner*, Carice van Houten*, Nikolaj Coster-Waldau*, and Maisie Williams*
September 17, 2019 UPDATE:
More presenters have been announced for the 2019 Primetime Emmy Awards:
Anthony Anderson* (black-ish)
Ike Barinholtz (Bless the Harts)
Cedric the Entertainer (The Neighborhood)
Max Greenfield (The Neighborhood)
Bill Hader* (Barry)
Julia Louis-Dreyfus* (VEEP)
Cast of VEEP: Anna Chlumsky, Gary Cole, Kevin Dunn, Clea DuVall, Tony Hale, Sam Richardson, Reid Scott, Timothy Simons, Sarah Sutherland, Matt Walsh
Gwyneth Paltrow (The Politician)
Amy Poehler* (Duncanville and Russian Doll)
Maya Rudolph (Bless the Harts and The Good Place)
RuPaul* (RuPaul’s Drag Race)
Lilly Singh (A Little Late with Lilly Singh)
Ben Stiller* (Escape at Dannemora)
Phoebe Waller-Bridge* (Fleabag)
Cast of Keeping Up with the Kardashians: Kim Kardashian, Kendall Jenner, Kylie Jenner
The 71st Emmy Awards will air live from the Microsoft Theater in Los Angeles on Sunday, September 22, (8:00-11:00 PM ET/5:00-8:00 PM PT) on FOX.
For more information, please visit Emmys.com. Find out Where to Watch.
Michael Keaton, director Jon Watts, Tony Revolori, Zendaya, Tom Holland, Laura Harrier, Robert Downey Jr., producer Kevin Feige, Marisa Tomei, producer Amy Pascal and Jacob Batalon at the New York City press junket for “Spider-Man”: Homecoming” (Photo by Kristina Bumphrey)
The “Spider-Man” movie franchise is now in its third incarnation. And when it comes incorporating other major characters from the Marvel Cinematic Universe (MCU), the third time is the charm, because “Spider-Man: Homecoming” (directed by Jon Watts) is the first time that Marvel Studios has teamed up with Sony Pictures to bring other MCU characters such as Iron Man to a “Spider-Man” movie.
The “Spider-Man” franchise started with the original 2002 “Spider-Man” movie (starring Tobey Maguire as the web-slinging superhero), which spawned two sequels. In 2012, Andrew Garfield took over as Spider-Man (whose real identity is nerdy high-school student Peter Parker) for two “Amazing Spider-Man” movies. Now, in 2017, Tom Holland stars as Spider-Man, a role that Holland also played in Marvel Studios’ 2016 blockbuster “Captain America: Civil War.”
In “Spider-Man: Homecoming,” Spider-Man is being mentored by Iron Man/Tony Stark (played by Robert Downey Jr.), who often grows impatient with the over-eager Peter, who’s ready to rejoin the Avengers in their mission to fight crime worldwide. For now, Peter is stuck in high school in New York City’s Queens, where his social life revolves around his best friend, Ned Leeds (played by Jacob Batalon), and fellow members of the school’s debate team, which includes the sarcastic Michelle (played by Zendaya), competitive Flash Thompson (played by Tony Revolori) and “cool kid” Liz (played by Laura Harrier), who is Peter’s secret crush. “Spider-Man: Homecoming” also stars Michael Keaton as Adrian Toomes/Vulture (the movie’s chief villain) and Marisa Tomei as Peter Parker’s Aunt May.
At the New York City press junket for “Spider-Man: Homecoming,” Holland, Downey, Keaton, Harrier, Batalon, Zendaya, Revolori, Watts and producers Amy Pascal and Kevin Feige (who is also president of Marvel Studios) gathered for a press conference. This is what they said.
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
How excited are you to finally bring Spider-Man into the Marvel Cinematic Universe?
Feige: It was one of a handful of, “Well, this will never be possible but let’s dream about it moments” at Marvel studios … Having made the movie, it’s unbelievable. It’s incredible.
Pascal: It is incredible. It started with a lunch with me and Kevin, and I can’t believe we’re here now. It’s pretty exciting,
Director Jon Watts (far left) with cast and crew on the set of “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Jon, the biggest challenge was to not only make a fresh standalone movie but to make one that does fit into the MCU and does capture a unique tone that is delightful and hilarious. What were some of the challenges of capturing all those thins while staying true to the legacy of Spider-Man?
Watts: Well, I just tried to approach it as the biggest fan possible and the opportunity to finally put Spider-Man where he belongs in the Marvel universe, really just opened so many doors to all of the new kinds of stories we could tell. So if anything I felt like we were being as true as possible as anyone has ever been able to be about Spider-<an and how he fits into this world.
Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Tom, with great power comes great responsibility. What kind of responsibility did you feel playing a character that so many people love?
Holland: I think the thing that I had to remind myself most when I took on this character was that Tobey Maguire’s Spider-Man had such a huge impact on me as a kid. He was my role model growing up; he was my favorite character. So I had to remind myself that I’m going to have that same impact on kids of the younger generation. So I really wanted to do them proud, and be a solid role model for them to make a young, fresh version of the character we know and love so well.
The question that Jon and I asked ourselves was, “If you gave a 15-year-old superpowers, he would have the time of his life. And when I made this movie, I had the time of my life, so it really comes across on screen.
Jon Favreau, Robert Downey Jr. and Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Robert, you’re like the godfather of the MCU. How do you feel about the way the MCU has evolved but expanded to now include the likes of Spider-Man?
Downey: Well firstly, I’m stoked that they got my memo to design the screening room like an old Miami Dolphins jersey. So that worked out. But Amy and them had done these iterations of Spider-Man previous. They really should do one of those breakdown, kind-of-boring-to-read-but-somewhat-important books about all the miracles that had to had to happen for us to be sitting here today … This turned out so well. It really comes down to, as Kevin says, “You’ve got to see the movie and love it. “This turned out so well. I saw it, I was in it for a little bit, but I loved it. I think that’s what’s exciting is that they’re still really working.
Michael Keaton in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Michael, the thing about Adrian Toomes/Vulture in this film is that his motives are grounded because he’s motivated by wanting to help his family. What were your impressions when you signed on to this film, in terms of Vulture’s motives?
Keaton: I thought it was inventive and an interesting way to go. I’m not really familiar with a lot of the lore, so for me, I was trying to catch up. I just thought the simplicity of making this person approachable, it’s timely. Let’s not talk about why it’s timely, ’cause I want to blow my brains out.
Downey: He’s only threatening his own life right now.
Keaton: I thought it was a really unique approach and kind of obvious to make this person approachable and has a legitimate gripe and a legitimate argument. I thought it was really well-written. It was a fun gig.
Marisa Tomei and Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Marisa, it seems like a fun gig for you as well. What was your take on playing Aunt May as completely different from what we know about the character?
Tomei: I didn’t really know what Aunt May looked like until after I signed up. I couldn’t understand why my agents kept saying to me “They’re going to make her sexy.” “Ugh, stop trying to coddle me. Oh, in contrast of another way to go.” These guys had this vision of how it would be revamped and everyone was going to be younger and she’s his aunt by marriage, so she can be any age at all.
Jacob Batalon and Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Jacob, how do you feel about people reacting so well to your Ned character and his friendship with Peter?
Batalon: I’m not going to lie. I knew this was going to happen. Tom and really enjoy each other, and the cast and I enjoy each other, so it was easy to translate that into what you saw. I love them. I love all of them so much. It’s easy to be around them, and it’s easy to make the best things with them.
Zendaya at the Los Angeles premiere of “Spider-Man: Homecoming” (Photo by Eric Charbonneau/Invision for Sony Pictures/AP Images)
Zendaya, what was it like to make a big film like this one?
Zendaya: It was incredible. I’ve done a lot of things in my little career so far, but this is my first big movie, so I was terrified, but I suppressed it very well. It’s amazing to be here. I think all of us feel like it’s a bit of a dream. I don’t know when it’s going to feel real, but it definitely doesn’t feel real right now. I don’t mind living in this dream. I enjoy it here, so I think I’m going to keep doing it.
Downey: When the opening numbers come in, it gets real.
Laura Harrier and Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Laura, why do you think out of all the superheroes, Spider-Man means the most to people?
Harrier: Because I think he’s the most relatable. We all know what it’s like to grow up and go to high school and go through growing pains and have awkward moments of talking to someone you have a crush on. It’s harder to connect with superheroes who are completely outside of our world, I think. Spider-Man is first and foremost Peter Parker, whom everyone can relate to.
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
Jon, Spider-Man’s costume is the most high-tech we’ve ever seen. What were the challenges of keeping true to the Spider-Man mythology while evolving things in a way that it makes sense for 2017?
Watts: I got kicked off rather nicely by what the Russo brothers did in “[Captain America:] Civil War.” They had this really great premise that Peter Parker is going to get plucked out of obscurity by Tony Stark, given this really high-tech suit, and then get taken on a crazy adventure, and then dropped back into his regular life without another thought. So, to me, the challenge was an opportunity. If Tony Stark built a Spider-Man suit, what could it do that would be so amazing? There’s a little bit of precedent in the comics with the Iron Spider suit that gets built, so we used that as inspiration for all the bells and whistles that Tony would put into this thing.
Tom Holland, Michael Keaton and director Jon Watts on the set of “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Tom, can you talk about your experience going from the movie “The Impossible,” when most people first discovered you, to how you got to this place in your life?
Holland: I’ve been so lucky in my career. I felt like I’ve been in the right place at the right time at every turn. I’ve been so lucky I’ve got to work with I would consider the best of the best and learn from people. Every movie has been a different experience for me. I’ve been able to play different characters without having to go too far. Now I’ve now finding myself to go a little bit further. This job since day one has been a rollercoaster. It has never ceased to amaze me.It’s the job that keeps on giving.
The fact that I’m here with these guys promoting this movie is insane. Like Zendaya said, it does not feel real in any way possible. I read a comic yesterday that is based off my face. I mean, what the hell! Nothing has sunk in. Nothing has sunk in. It feels like I’m about to wake up and be very disappointed. But I’m very happy here, and I can’t wait for you guys to see the movie.
Laura Harrier, Tom Holland and director Jon Watts on the set of “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Robert, when we we asked Tom and Jacob if they could take anything from the set, Tom said he would take your Audi and Jacob said he would take your watch. How do you feel about that and what would you take from the set?
Downey: I’m sorry, which Audi and which watch? You know why I think this works? There’s something about the initial breaking the story and the concept. Whatever the mood board was for this movie, with all those different tones, it was creatively inspired. It’s really an inspired re-invention.
And what I would take is that moment where the creatives actually broke this story and said, “That’s it.” If it’s executed correctly, that’s what you see on the screen. And that’s why I love movies. I’m a huge fan of movies, and I always wondered, “How did they figure it out to entertain me this well?” The mood board!
Michael Keaton, Tom Holland and Robert Downey Jr. at the Los Angeles premiere of “Spider-Man: Homecoming” (Photo by Eric Charbonneau/Invision for Sony Pictures/AP Images)
Robert and Michael, since you know what it’s like to star as superheroes in blockbuster movies, what advice would you give o the younger members of the cast on how to deal with all the media scrutiny and fan love that comes with being in these types of films?
Downey: Every day you wake up, everybody’s even. All of this status or experience is all kind of a projection … It really comes down to, “Does [the director] like us? Does he think we know what we’re doing?” It’s all about having your feet on the ground, and realizing that you always start at zero MPH every day.
Keaton: I don’t have anything to say [to the younger cast members]. I’m listening to what these people are saying, and so far it’s impressive. Let’s keep an eye on them, but so far, they sound like pretty sane folks.
Zendaya, Tony Revolori, director Jon Watts and panel moderator Scott Mantz at the New York City press conference for “Spider-Man: Homecoming” (Photo by Kristina Bumphrey/Starpix for SPE)
Tony, what was it like to work on this movie with a character that is so well-known to fans around the world? And can you compare it to working on a movie like Wes Anderson’s “The Grand Budapest Hotel”?
Revolori: It’s wonderful working with someone like Wes. He’s amazing and fantastic. But working on a project like [“Spider-Man: Homecoming”] is on a different level because you have so many fans and so many people who work so hard and put so much effort into it, you can’t help but want to do a good job. I’m very fortunate to be a part of it with a great cast. Thank you to Jon, Amy and Kevin for casting a 5’8″ brown guy to play a 6’2″ blonde, blue-eyed guy. Thank you.
Tony, how does it feel to represent the Latino community in this comic-book franchise?
Revolori: It’s wonderful. I think when you see the film, there’s not a single line of exposition to explain why I look the way I look. I think that’s wonderful. I just am in the movie. It’s not about being a certain race or doing anything. That’s the kind of diversity we need in Hollywood right now.
Amy Pascal and Kevin Feige, Jacob Batalon, Laura Harrier, Michael Keaton, Tom Holland, Robert Downey Jr., Marisa Tomei, Zendaya, Tony Revolori, director Jon Watts and panel moderator Scott Mantz at the New York City press conference for “Spider-Man: Homecoming” (Photo by Kristina Bumphrey/Starpix for SPE)
“Spider-Man: Homecoming” has one of the most racially diverse casts in a superhero movie. What was the inspiration for having such diversity?
Pascal: The inspiration was reality.
Downey: Our last resort!
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
Tom and Jon, what challenges would you like to see Spider-Man overcome in any future MCU movies?
Holland: I’m still getting over the first one.
Watts: I honestly try to think about this stuff one movie at a time, but I do feel like now that Spider-Man is part of this big, crazy universe, we can definitely tell some new stories, that’s for sure.
Tom Holland and Robert Downey Jr. at the Los Angeles premiere of “Spider-Man: Homecoming” (Photo by Steve Cohn/Invision for Sony Pictures/AP Images)
Tom and Robert, how would you say Peter Parker/Spider-Man’s relationship with Tony Stark/Iron Man has evolved since “Captain America: Civil War”?
Holland: I think the relationship between the two of us is more important from [Iron Man’s] point of view because he suddenly has someone to think about other than Tony Stark. He really cares about Peter, and one of the reasons why he doesn’t want Peter to become an Avenger is because he really doesn’t want the responsibility of something happening to Peter on his conscience. It’s a nice back-and-forth of [Spider-Man] saying, “Look, I’m powerful enough to be an Avenger,” and [Iron Man] saying, “But you’re not ready to be an Avenger.” It’s like a big brother/little brother. dad/son type of situation.
Tom Holland (second from left) at a Sony Square NYC fan event for “Spider-Man: Homecoming” in New York City (Photo by Marion Curtis/Starpix)
What do you hope teenagers will learn from watching “Spider-Man: Homecomng”?
Batalon: Our message is that you don’t have to be the jock, you don’t have to be the cool person in high school to be yourself. The coolest version of yourself is yourself. We’re nerds, and we love to be smart, and that’s okay. There’s nothing wrong with being yourself.
Harrier: You don’t have to apologize for who you are. Everyone in this movie is so different, but genuinely themselves, especially Zendaya’s [Michelle] character, who is very different but not ashamed of it. If teenagers could take that away, it would be great.
Zendaya in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Zendaya, how much was your portrayal of Michelle inspired by Ally Sheedy’s character in “The Breakfast Club”?
Zendaya: Definitely inspired. I didn’t know what kind of character I was playing until I showed up. Everything is kind of top-secret. So I read the script, and I was like, “Okay, she’s interesting.This is going to be fun.” Then i met with Jon, and he had so many different references, and [Ally Sheedy in “The Breakfast Club”] was definitely one of them.
Just kind of making that distinct character, making somebody that I think is different, and embracing the weird. Like what we were talking about: Young people, it’s okay to be weird. It’s okay to be exactly who you are. I love that [Michelle] is outspoken, I love that she says what everybody’s thinking, but she just doesn’t care. I think a lot of young people should have that a little bit more. It was fun playing that dry version of myself.
Tom Holland and Jacob Batalon ((center) at a “Spider-Man: Homecoming” fan event in Singapore. (Photo by Ore Huiying/Getty Images for Sony Pictures)
Who was the biggest clown off set?
Holland: Jacob.
Batalon: I don’t think this is a good interview right now.
Holland: The amazing thing about Jacob is that he wrapped on the movie, he finished filming his part in the film, and he just moved in with me. It’s like, “Jacob, go home!” He lived with me and my best mate for six weeks.
Batalon: You’re talking as if you didn’t want me there.
Holland: We did want you there. [He says jokingly] And then we fell in love.
Batalon: It’s been great ever since. Don’t worry about it.
Executive producer Louis D’Esposito, Robert Downey Jr., Tom Holland and producer/Marvel Studios president Kevin Feige at the Los Angeles premiere of “Spider-Man: Homecoming”. (Photo by Eric Charbonneau/Invision for Sony Pictures/AP Images)
Robert, how does it feel playing Tony Stark as the connective tissue across so many Marvel films?
Downey: What happens is that things are presented to me that are really well-thought-out by folks who have been doing this correctly for a really long time. And I just go “check,” and then I attempt to take the credit at press conferences. [He says jokingly] I’m holding this whole thing together. It’s obvious!
Logan Marshall-Green and Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Tom, how did you gymnastic and dance background help you in doing your stunts?
Holland: You can’t really master hanging upside down. It’s not something I really prepared for. But my dancing and gymnastic background was so helpful to the project because we were able to do things as Peter Parker that they probably hadn’t been able to do in the past. But with that said, sometime they would over-estimate my skill set. Jon would be like, “Can you back-flip off of that wall and land on that beam?” I’m like, “No, Jon. I can’t do that. I’m not that good, dude.”
Watts: You forget that you’re not actually Spider-Man sometimes.
Michael Keaton, Tom Holland and Robert Downey Jr. at the New York City press junket for “Spider-Man: Homecoming” (Photo by Kristina Bumphrey)
Robert, did it feel like you were passing the torch to Tom Holland? And how long do you think you’ll keep doing Marvel movies?
Downey: I’ve been semi-retired since “Iron Man” opened in its first weekend. Speaking for myself, good things happen, and then you get inflated and you think, “Oh my God, I’ve created everything that’s going my way.” And then things happen, where you’re like, “Okay, there’s a little evidence to the contrary.” At this point, you go back and say, “It’s nice to be on this call sheet.” So as you can see, I’ve changed dramatically, and I’m an extremely humble individual.
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
Can you consider doing more “Spider-Man” movie scenes on location in Queens?
Watts: As much Queens as possible. For sure.
Keaton: In terms of getting action in Queens … Robert, you and I have gotten action in Queens in 2001, I think.
Downey: Yeah, we kept a flat there for a while. Dirty deeds done dirt cheap.
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
Michael, you’ve played both the hero (Batman} and a villain (Vulture) in a superhero movie. Which one do you prefer?
Keaton: They’re both fun. I think actors tend to drawn to villainous characters. It’s a cliche, but it tends to be often true that you want to delve into the dark side. It gets interesting. The reality is the lead [actor] or hero by very nature of the piece has to be not one-dimensional but has to represent a thing very strongly, whereas the supporting characters are more dimensional, without going into bullshit actor talk. It tends to be true.
Most of us have had experiences where you’re playing one role, and you’re looking at some of those minor roles, and you think, “Oh, man, I’d like to have a bite of that,” because it’s just so much fun. I’ve been fortunate. I’ve been able to play a lot of different things: little tiny parts, big parts. They’re both fun. They’re both different. It’s more iconic, and you make a hell of a lot more dough being the big lead guy, but they’re both fun.
Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
Marisa Tomei in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
Michael Keaton and Michael Chernus in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
Jacob Batalon and Tom Holland in “Spider-Man: Homecoming” (Photo by Chuck Zlotnick)
A scene from “Spider-Man: Homecoming” (Photo courtesy of Columbia Pictures)
