Not since Scott Pilgrim and Ramona Flowers broke up and then immediately got back together have the last few moments of a movie so unnecessarily soured what was otherwise a genuinely wonderful experience. Spider-Man: Homecoming suffers from an ‘Okay, can we just stop watching here?’ ending, and it confuses me wildly that someone thought a […]
I’ll start by saying that I won’t be including any story-related spoilers. If you want the film spoiled, just watch it. It does a perfect job of ruining itself without me telling you that Darth Vader was Starlord’s father, or that Drax was Kaser Söze all along. However, I’ll also state that this isn’t really a review, but a reflection on what this movie means in the world of film making, and as such, it may be a little conceptual if you haven’t already seen it (if you do want a review though, how about zero out of literally pick any number).
Okay, this has been annoying me for a while now, so I need to get it out.
In the 2010 film ‘The Losers‘, there is a tech-nerd soldier character, portrayed by everyone’s favourite ‘guy who does loads of comic book movies‘, Chris Evans. About half way into the movie, after we’ve already established Mr Evans’ character’s typical arrogant, cocky persona, there’s a scene in which he is having to hurriedly change his disguise whilst in an elevator. As is textbook for a pseudo-comedic Hollywood film, the doors inevitably open the second he removes his trousers and, for some reason, his underwear (for real though, why the underwear?). As Mr Evans looks up in shock, standing before him are four rather attractive and provocatively dressed young ladies, presumably who work in the building he’s unsuccessfully trying to covertly infiltrate. A brief pause ensues as everyone looks at one another: the genitally exposed Chris Evans, and the curious hoards of apparent bimbos; and then, just as we expect the screaming to begin, something rather strange happens.