It’s rare to see an original musical given this sort of stage and attention. We usually reserve this space for tried-and-tested properties from Broadway or whatever animated film Disney has deigned to remake for an extra billion dollars in goodies. Another question is whether the movie will make the use of its big screen potential, as we’ve been inundated with smaller-scale musicals that are satisfying but lacking in an awe-inspiring sense of scale. The Greatest Showman is a big, splashy, 80s-styled Broadway musical that deals with big moments, big characters, and big emotions. It wears its mighty sincerity on its sleeve and challenges you not to get swept away with all of its charming pomp and circumstance, and for the most part I did just that.
P.T. Barnum (Hugh Jackman) is an unemployed salesman trying to provide a life of luxury and imagination to his wife Charity (Michelle Williams) and two daughters. He opens a theater in New York City and hires folks with unique appeal, a bearded woman (Keala Settle), a little person dressed as Napoleon, other so-called “freaks” and several trapeze artists. The show garners some controversy but still attracts a crowd. He reaches out to a rich playboy Phillip Carlyle (Zac Efron) to better shore up the finances. Phillip is reluctant but eager to step away from the pull of his parents, which includes falling in love with Anne (Zendaya), a trapeze performer. Barnum achieves enough success to force his way into the moneyed world of New York high society but he doesn’t feel they accept him, so he reaches out to renowned opera singer Jenny Lind (Rebecca Ferguson) and convinces her to come to America. Barnum plans a cross-country tour for his newest star and plans on going with, soaking up every standing ovation from the upper class. With his focus distracted, Barnum is in danger of losing those closets to him.
This is a loving throwback to those old Broadway days and it succeeds admirably on the big screen, taking its circus setting and opening up the space. There’s a rooftop dance among hanging sheets that reminded me of classic Rogers/Hammerstein. I was particularly fond of the choreography of two duets, both with Efron. The first, “The Other Side,” he is being wooed by Barnum in a bar and the two men circle each other in negotiations, eventually jumping on tables, the bar top, and pounding and sliding shot glasses to naturally match with the percussive elements of the catchy song. The “Rewrite the Stars” lovers’ duet is playful and romantic as envisioned in its location, the center ring of the theater . Zendaya swings along ropes, rings, and weights, making their “will they won’t they” song a literal flirtatious dance, their orbits getting closer to one another, and the staging makes the emotions of the song feel even larger and more resonant. If you’re a fan of the unabashed, big audacious musicals of old with a sincerity that could approach mawkish, then you’ll definitely be in for a treat with what The Greatest Showman offers.
Reading that the Oscar-winning musical team behind the listless tunes from La La Land was the ones cooking up the original Showman songs did not inspire me with confidence. Well, apparently what they really needed was people who could sing and a canvas that allowed for a wider array of musical instrumentation. The songs mimic the movie in its presentation of exploding emotions and earnestness, and the big group numbers have a habit of feeling very kitchen sink in their melisma. It’s all the notes, all at you, with a thundering backbeat, and it can be a little overpowering at first to process, but eventually you adjust to its ecstatic rhythms. The opening number “The Greatest Show” threw me for a loop, with quick audience foot stomps cut with a millennial whoop and then laid over a dozen other musical tracks. It hits you hard but serves as a fine introduction, teasing you about the world to come and Barnum’s showcase. The song is also emblematic of my biggest quibble with what is otherwise rousing musical numbers insofar that it’s overproduced. There are solid melodies with each song and its reprise; however, it feels like the arrangements cannot settle on when to stop adding stuff. The songs can feel cluttered, weighed down by the added production. Barring that, it’s 39 minutes of original music that puts the Oscar-winning La La Land to shame.
With any musical, different numbers will strike people differently, so I’ll highlight some of my favorites. The aforementioned “The Other Side” has a playful jaunty beat that builds and builds, nicely lending itself to showoff moments for Jackman and Efron as they try and outsmart and eventually out dance (the musical equivalent of persuasive speaking?) one another. the lyrics are also sharp (“I live among the swells/ We don’t pick up peanut shells”). It’s also a nice change of pace from the anthems and ballads that populate much of the soundtrack. Speaking of ballads, “Never Enough” might come from the least important character in the overall story but my goodness does Voice alum Loren Allred, providing vocals for Ferguson to lip synch, give it such a wallop. The emotion in the singing is crystal clear and made me wince because it’s so good. I’m one of those crazy people who care more about the performances in my big screen musicals than hitting all of the correct notes (see: Les Miserables), but it’s nice when a performer can grant you both. There’s no shame in lip-synching, La La Land. “Tightrope” is Williams lamenting her martial changes but the real revelation is her singing. She takes a fine song and makes it better. The song getting the most awards attention is the anthemic “This is Me” about accepting one’s self like a “Let it Go.” Keala Settle takes complete ownership with her booming vocals and passionate intonation. It’s a calling for all outcasts and delivers the inspirational groundswell into a millennial whoop pinnacle. There wasn’t a song that didn’t engage me at some level, either musically, performance-wise, or even presentation, and that’s one of the most important aspects for a musical.
Jackman (Logan) might just be blessed with more charisma than anyone on the planet, and so when he has that twinkle in his eye, you’re willing to go on whatever journey with the man. This has been a passion project of his for years and Jackman and he puts his all into being a captivating conman who can get high on his own hokum. He’s leaping off the screen to entertain and his dexterity and natural showmanship parlay well into bringing great, bustling life to his character. Efron (Baywatch) is an appealing actor who can so easily pull you in with his adeptness at comedy, acting, dinging, and dancing. It’s been a while since Efron hoofed it up on the screen and he hasn’t missed a step. Zendaya (Spider-Man: Homecoming) is a born star. She has a moment late in the film where her hoarse voice repeats the chorus of “Rewrite the Stars” and she pushes it from being cheesy into being touching. Williams (All the Money in the World) is better than her underwritten material affords and brings warmth to her understanding, doting wife. For fans of the excellent Netflix series GLOW, which is also all about showmanship, that’s Sheila the She-Wolf as a young Queen Victoria (Gayle Rankin) greeting Barnum.
Now, the direct sincerity of the entire production is somewhat called into question by its very sanitized approach to P.T. Barnum. One way of looking at his “freak show” was that he was empowering the less fortunate and providing a safe space for them to call a community and earn a wage in a discriminatory job market. Barnum gave them a sense of dignity. Another way of looking at it is that Barnum was exploiting people who had no other options and selling tickets for the public to indulge its morbid curiosities. Barnum is a fascinating figure before he even conjures up the idea for his circus. He was an abolitionist who dropped out of school at fifteen, owned and operated a newspaper by age 21, was jailed for libel, exposed a credit scheme to gain his theater, four in the Civil War, and was a purveyor of any ridiculous and ghastly theatrical stunt, including an enslaved African woman’s autopsy to prove she was really 160 years old. Barnum is a complicated historical figure with a wealth of anecdotes that would make great storytelling potential.
The movie invents a Barnum for an invented tale, which isn’t necessarily a problem except that what we get is absurdly simplistic in comparison to the complex source. Barnum becomes a poor kid with great aspirations, most of which seems to be either joining the rich elites or sticking it to them and their snooty sensibilities. Likewise, being a champion of the “freaks” is naively unsophisticated for a man as craven for publicity as Barnum. The simplicity also extends into the supporting characters that have meager morsels to work with considering the considerable attention Barnum draws. An interracial romance between Phillip and Anne has tremors of importance but falls back on easy signifiers lacking greater examination, like Phillip’s agog family response to him being interested in “the help.” It’s a shame because Efron and Zendaya are terrific together and a simple gesture like reaching out to hold hands can have such power. Charity is the put upon wife we see all-too often in the stories of Great Men, and her domesticity represents the source of Barnum’s true happiness. You see, dear reader, Barnum’s character arc is that he wants to stick ti to the rich elites, than he wants to be accepted by them, and then he learns the errors of his ways and goes back to appreciating his family and life’s smaller pleasures, those pleasures are still living comfortably. It’s a strange stop-and-smell-the-roses sort of lesson, and it’s even weirder when Barnum seems to lose interest in his community of performers he’s gathered. The subplot where Barnum abandons his theater to tour with Jenny Lind feels both obvious and unnecessary. The only tension is whether or not there will be an affair, and the impact of Jenny Lind seems overall fleeting, forcing conflict in contrived fashions. For a man whose life story was writ large and fascinating, The Greatest Showman conjures a sedate replacement.
As I was watching and smiling to the soaring emotions and tunes, I kept thinking how 17-year-old me would have likely tore this movie to shreds, lambasting its earnestness as a mawkish attempt to wring out a feel-good story from a questionable source. 17-year-old me would have snickered about how gloriously unhip The Greatest Showman is. Mid-30s me has a much easier time not just accepting sincerity but also appreciating it. The performances are charming, the performers able, and the songs slyly catchy. The story of P.T. Barnum is sanitized with mixed results but the ebullient feeling coursing through this film is undeniable and worked its magic over me. If you’ve been missing the big Broadway musicals of old, The Greatest Showman will be a three-ring treat.
Nate’s Grade: B
15 years. 6 movies. 3 different lead actors. 2 reboots. I wouldn’t be surprised if a majority of the American public likely knows more about Spider-Man than their relatives. In 2002, the first Spider-Man movie kicked off the new century by affirming to studios that superhero movies are a sound financial investment. Director Sam Raimi and Tobey Maguire kicked off the glut of superhero cinema, paving the path for the massive Marvel Cinematic Universe (MCU) and its own unparalleled run of financial and critical success. Then the overreach killed off Raimi’s Spider franchise in 2007 and overreach again killed off Sony’s Spider reboot in 2014. Sony wisely sought out an assist from the gurus of Marvel, striking a deal and having the web-slinger return to the MCU. Fans rejoiced. Spider-Man: Homecoming announces itself as a brash, exhilarating, hilarious, and amazingly assured film that immediately lines up with the upper tier of the MCU. Marvel should use this as Exhibit A, submit it to Fox, and say, “Here’s how we can do your franchises better.”
Peter Parker (Tom Holland) is your ordinary 15-year-old from Queens, New York who was given amazing powers after being bit by a radioactive (or genetically modified) spider. It’s been weeks since he was called into action by Tony Stark (Robert Downey Jr.) to thwart Captain America (Chris Evans). Now Peter is back home and waiting for his literal call to adventure, for Stark to officially call him up to join the Avengers. Peter anxiously waits for school to end so he can don his Spider-Man suit, modified by Stark Industries, and fight local crime and injustice. This mostly amounts to stopping bicycle thieves, helping old ladies with directions, and other inglorious tasks. Peter’s Aunt May (Marisa Tomei) would prefer he focus on his studies rather than the time he’s been spent on the “Stark internship” (his fib to cover said crime-fighting). New weapons begin appearing on the streets, built from the discarded alien technology from The Battle for New York. Spider-Man investigates the source, Adrian Toomes (Michael Keaton), a pilot who adopts the moniker of The Vulture while in the sky with his winged jet pack. The formidable weapons pose a real pressing danger to society, and Peter pushes further, at his own peril, to confront the Vulture and stop the flow of high-tech weapons.
For many fans of the webhead, this will feel like the first time they’re watching the Spider-Man of the comics on screen. This is the first film incarnation where Peter remains in high school for the entire duration of the movie, and it’s also thankfully the only telling that eschews an origin story. He just is Spider-Man, however, the arc of the movie is him settling into that identity. It’s in many ways a coming-of-age story for the superhero set, as Peter has to come to terms with his earnest desire to help others and his own maturation, both as Spider-Man and as a high school sophomore. He’s learning just as much to be Peter as he is Spider-Man. Just because he has these powers doesn’t mean he’s ready for the rigors of the world. Homecoming is very much a high school movie. There are familiar John Hughes influences throughout, and the film smartly subverts certain high school tropes (driving lessons, prom dad from hell). It presents our hero struggling with asking the cute upperclassman (Laura Harrier) to the dance just as much as the demands of being a fledgling local superhero. His interior life is much more available and relatable but he’s still a teen navigating the world. Also, by having Peter be the youngest film incarnation yet, it allows for the satisfying indulgence of superhero wish-fulfillment. Whereas the X-Men powers are naturally linked to the progression of puberty, those are usually portrayed as a curse, something that ostracizes, confuses, and produces great anxiety and fear. With Spider-Man, being a superhero is the coolest thing in the world. He’s not consumed with angst like Andrew Garfield’s broody Peter Parker and his weirdly special DNA (what was the deal with his parents and that conspiracy? Oh well). Watching this exuberant Peter Parker embrace his new abilities with glee is a great way to keep the movie light and bouncy.
This is also, bar none, the funniest film yet in the MCU (yes, even dethroning Guardians of the Galaxy). With the lighter tone, the movie finds consistent opportunities to inject comedy, from the irony of Peter trying to lead a normal life, to the awkwardness of Peter’s attempts at crime-fighting, to his over eager demeanor, to misunderstandings and hasty excuse-making to conceal his double life, to the sterling supporting cast of characters that contribute different flavors of jokes when called upon. If anything there is so many talented supporting players I wanted even more time with them (Donald Glover, Hannibal Buress, Martin Starr). This cast is a comedic embarrassment of riches.
I was laughing pretty much from beginning to end with Homecoming. Just thinking back on the school’s morning announcements (complete with anchor Betty Brant) makes me giggle. Peter’s best friend Ned (Jacob Batalon) is the movie’s chief source of comic relief, and in less careful hands he would become rapidly annoying. Instead, he’s a reliable presence and given a character arc with a payoff of his own, his desire to be Peter’s “guy in the chair.” It’s genuinely impressive screenwriting when even the comic relief sidekicks have arcs. Zendaya does an impressive job of selling every one of her jokes, which traffic in a very specific smart-aleck, apathetic tone. She’s graduated from the Disney Channel to the bigger leagues. There’s a hysterical series of inspirational education videos featuring Captain America, and if you stay past the end credits there’s a great payoff for that. There’s even some sly meta jokes calling back to Raimi’s Spider-Man. Every joke at least lands and most of them hit hard, benefiting from strong development and timing.
Nevertheless, just because it happens to be one of the funniest movies of the year, Spider-Man: Homecoming still finds plenty of space to be dramatic and thrilling. The comedy doe not tonally detract from the other elements. This is not an insubstantial movie just because it knows how to have some fun (take notes, Zack Snyder and DC). This is not a flippant movie because of tone or the heavy joke quotient. There are sincerely sweet moments born out of the characterization, like when Aunt May takes it upon herself to teach Peter how to dance (this would not be possible with a geriatric Aunt May). Director Jon Watts (Cop Car) has a steady command with his high-flying visuals and maintains the tight walk of tone that allows all the elements to work together as a blissful whole.
There are superb action sequences that advance the story forward and allow for the characters to grow. It’s exactly what good action is supposed to do, besides, you know, quicken the pulse. The humor can also arise naturally from these set pieces. Take for instance Peter suiting up while attending a suburban house party. He spots some alarming energy discharges on the other side of the suburb, but without any tall buildings for him to latch onto, he has to hoof it the whole way on foot. It’s a smart comedic aside and it helps to remind us that this Spider-Man isn’t an instant pro after getting his powers. It all comes together best in a D.C. rescue at the Washington Monument. It bridges the personal with the action. The bifurcated ferry set piece serves as the Act Two break and it’s a killer segment that pushes Peter to his limits to solve a dilemma that seems incapable of being fixed. There may not be any action scene to rival Raimi’s finest but the character-centric action and the organic development of the complications lays a foundation for a consistently entertaining film littered with joyful payoffs.
The biggest fear I’ve read from Spidey fans was that the involvement of Robert Downey Jr. would tip the scales, turning a Spider-Man movie into a defaco Iron Man sequel. Considering America loves Iron Man, I don’t see how his inclusion is a problem. Civil War was still very much a Captain America film even though Iron Man was the co-lead. Tony Stark represents a distant mentor for Peter and also the gatekeeper. Peter is anxious to become an Avenger and looking for Stark’s approval, which brings an enjoyably unorthodox paternal side from Downey. If there is a complaint I can foresee, it will be that Spider-Man is too similar to Iron Man thanks to the special suit. Spider-Man’s suit has its own Jarvis-style A.I. program (adeptly voiced by Jennifer Connelly, wife to Paul Bettany, former voice of Jarvis) and extra special gadgets including a spider drone and unusual web shooting options. It provides a new sense of discovery for the character since we’re already starting with him powered. The second act is Peter getting accustomed to the boost his suit gives him, becoming reliant upon them, and then having it stripped away as a natural Act Two break so that the conclusion has even more stakes without the security of the suit. It makes Peter much more vulnerable. The Iron Man parts are more a background motivational force and this is still very much a Spider-Man film.
Holland (The Lost City of Z) is already my favorite Spider-Man. Period. He made such an immediate and strong impression in Civil War that I was greatly looking forward to his first big starring venture, and Holland does not disappoint. This is the first Spider-Man that doesn’t feel crushed by the heavy burden of being a superhero. He’s a kid eager to grow up and join the world of other caped crusaders, but he’s modeled his crime fighting from what he’s seen on TV. He doesn’t really know what he’s doing. He’s still an awkward kid, and Holland brings great authenticity to the smaller character moments and the bigger heroic strides (while maintaining a convincing American accent). This is a more relatable, vulnerable, and interesting Peter Parker. Even though he thinks he should be beyond the mundane life of high school, he doesn’t ever act pompous or look down on other characters, which is endearing. At times Holland feels like he’s going to explode with energy, as if life is too much to process in the intermediary. He’s a teenager and the world feels so big and open. It’s an instantly engaging and likeable portrayal that wonderfully capitalizes on the introduction from Civil War. This is a Spider-Man, and his spider world, that I want multiple sequels to further explore and challenge.
Keaton’s Vulture already ranks as one of the best villains in the MCU (a low bar, I admit), and that’s because the movie humanizes him and gives him significant moments. He’s just a regular working-class man trying to provide for his family. In fact the first five minutes of the movie focus exclusively on Toomes and explains his sticky situation. He feels cast aside by those in the upper echelons of power. His eventual “you and I are the same” speech to Spider-Man has credible points. You can see, from his perspective, how he’s an underdog sticking it to the rich elites. Shockingly, there’s only one death in the entire movie and even that is an accident. Toomes is not your standard comic book villain, and there’s a brilliant third act twist that makes him even more centrally involved in the narrative. That opens a delicious sequence of dramatic irony. Keaton has a quiet menace to him that’s very unsettling. It’s all in the lower register. His character doesn’t blow up. He just narrows his brow and intensifies that scary stare. I’m glad the filmmakers realized that more Keaton was an asset to the film.
Let’s also take some time to celebrate the sixth Spider-Man movie for having a diverse population of characters that would actually represent Queens. Peter’s best friend is of Filipino descent, the girl he crushes on is biracial, the loner girl is biracial, and even the high school bully, Flash Thompson, is Hispanic, played by Tony Revolori from The Grand Budapest Hotel. This might be Marvel’s most diverse cast yet, though “yet” being the operative word considering that Black Panther is arriving in early 2018.
This movie is a total blast. Spider-Man: Homecoming actually manages to give new life to a character that has already appeared in five other movies. That’s an amazing feat. Another amazing feat is that six different screenwriters, including the director, are credited with this movie, yet it feels fully coherent in its vision and presentation. This is Peter Parker, the teenager struggling with self-doubt, hormones, and an eagerness to grow up, and the movie feels much more human-scaled, forgoing giant CGI smash-em-ups for something more grounded, personally involving, and ultimately successful. Just because Homecoming is fast-paced and funny doesn’t mean it lacks substance. I was elated during long portions of this movie, impressed by the steady stream of setups and payoffs, the incorporation of the many characters and comedic voices, and the varied action set pieces that were focused on character progression. If you are tired of superhero stories, I’d still heartily recommend this movie. Dear reader, I feel like I’m failing you and turning into a frothing fanboy because I can only think, at worst, of negligible quibbles against the film. Everything in this movie works. Everything. It’s everything I was hoping for and then some.
Nate’s Grade: A