Spider-Man is Far From Home, and quite lost. One of the greatest virtues of Homecoming was its ability to adapt Jon Hughes' light and soft formula in a teen-cut story focused on new cultural trends. Jon Watts played well on that occasion. It broke the stylistic heterogeneity that only Thor: Ragnarok had dared to make, and proposed what could be the basis of a new drift in the MCU. Spider-Man: Far From Home collects all that and manages it ignoring the context.
Believing that this is a direct sequel to the first installment, the director predisposes a continuity premise that seeks to improve the humor and lightness of the saga with a story almost as important as that presented at the arrival of the hero. However Kevin Feige had already drawn during the last months what should be the end of the Infinity Saga; the last chapter of a story started in Avengers: Infinity War, continued in Endgame, and finished in precisely the new Tom Holland movie. This could not be another desktop adventure. And that's where the tape collides with itself.
While the script by Chris McKenna and Erik Sommers tries to draw the moral dilemma suffered by a young man on whom now falls the responsibility of protecting the world, how Watts bets are destroying one by one all the dramatic candies of that development. Yes, Peter suffers from Tony's loss, and yes, all his actions respond to the confusion of someone who doesn't know how to manage pain, or how to face the future. But Spider-Man: Far From Home soon takes advantage of that unique context to re-immerse itself in its bubble of easy jokes and Manichean villains.
There is no type of climatic tension or conclusion to the arcs presented in the two crossovers. What the sequel proposes is a simple family-friendly story that seeks nothing more than to entertain. Without trying to cultivate the epic that dragged the invasion of Thanos, nor seriously propose the consequences that a future without the Avengers in between brings. Watts uses all this as a simple pretext to create a fast-leisure pill that the less demanding fans of the character will like, but that is far from taking advantage of the tools that the Marvel Cinematic Universe gave him. Based on this clarification, what does this sequel offer?
After the Endgame events, not only Peter tries to move on. The world seeks to correct what has been called "The Gap"; 5 years that exists between the faded and those who remained on Earth. Broken lives, pain patched, and a socio-cultural structure fragmented by an event that escapes natural reasons. The script knows how to play cunningly with this, and manages to generate, over more than two hours of footage, not a few hilarious situations. Both the dialogues and the very premise of the trip undertaken by Peter's class are effectively shielded in this narrative.
Beyond that, the rest is presented as a European trip starring naive teenagers in search of new experiences. One could speak of a perfume similar to the one Hughes himself distilled in "The Vacations of a Crazy American Family", but the truth is that Watts knows how to escape the most explicit references, betting on a drift towards late but satisfactory action. The first hour of Spider-Man: Far From Home is cumbersome, over-explanatory and not surprising. With jokes that this time does not work as they did in Homecoming, and a rhythm that touches the most desperate parsimony. Luckily the director manages to save the furniture.
The emergence of Nick Fury and Maria Hill in Peter's life forces him to choose once again between his identity as a hero, and his life as a shy and enamored student. From that tirade, the most interesting scenes of the entire sequel are born. It attempts to hide his superheroic costume breathe the same sensations tattooed in the vignettes, and the consequent and constant changes of registration help precisely unblock that warm start. The film is finding its way using action and special effects like makeup from a clumsy script. But at least they're stunning special effects.