There’s a scene in SPIDER-MAN: BRAND NEW DAY where Peter Parker (Tom Holland, THE ODYSSEY) sees his high school best friend Ned (Jacob Batalon, THE WRECKING CREW) at the bodega. Ned doesn’t remember him due to a spell Dr. Strange had to do to save the world from multi-dimensional doom (long story, and I don’t remember it), so Peter just watches as he tells the clerk to never let him buy a certain type of energy shot that he’s addicted to. Then he asks to buy one last bottle. Then two.
Yeah, that’s sorta like the MCU these days. We all say we’re over it, then this movie has the biggest opening weekend of all time. It sure doesn’t give me the same kick it once did, but maybe my body craves an approximation, and this will do for now.
I wouldn’t go to bat for BRAND NEW DAY. It’s definitely more of the MCU episodic dilly-dallying and not the compact, standalone cinematic storytelling that used to be the goal. Seems like a lost art in the days of late stage comic book movie – is that why they gave up on doing a new BLADE? But this one has plenty that works, particularly in Peter’s relationships with MJ (Zendaya, THE ODYSSEY) and Frank Punisher (Jon Bernthal, THE ODYSSEY). The love story with MJ has been built up over three previous movies, while his even knowing The Punisher happened (I believe) off screen between movies. But Peter will long for his lost love until they meet again, and he’ll butt heads with his street vigilantism rival until they’re a mismatched buddy pair. One of those classic teams, the friendly neighborhood Spider-Man and the severely traumatized mass murdering gun and bomb freak who hides out in a squalid industrial barge. (read the rest of this shit…)
May 3, 1996
Reeves’ debut here is produced by his pal J.J. Abrams (credited as Jeffrey Abrams) and written with Jason Katims, a story editor from My So-Called Life who later developed Roswell and worked on Friday Night Lights. With its ugly poster and DVD cover I always pictured THE PALLBEARER as some shitty, uncinematic comedy Reeves would be embarrassed of, but actually it’s a good looking indie type of movie, shot on location in New York by motherfuckin Robert Elswit, who had already done HARD EIGHT and would go on to not only shoot most of Paul Thomas Anderson’s other movies but also 
