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Tom Holland stunt double swings into explosive action in ‘NYC' for latest Spider-Man movie

Tom Holland stunt double swings into explosive action in ‘NYC' for latest Spider-Man movie

New York Posta day ago
Tom Holland's stunt double swoops into action on Bothwell Street in central Glasgow, Scotland, doubling for Spider-Man in a vehicle chase and explosive stunt sequence filmed August 5, 2025. The streets of Glasgow have been transformed into New York City with NYPD police cars, classic yellow taxis, and an armored tank in tow as film crews shoot the signature chase scene for Marvel's 'Spider-Man: Brand New Day.' The double swung from a crane mounted rig alongside the speeding tank, weaving between faux NYPD vehicles in full scale police pursuit chaos.
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
Stuart King / SWNS
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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13 Tom Holland's stunt double in action for 'Spider-Man:Brand New Day', in Glasgow Scotland, Aug 5, 2025.
UnBoxPHD / SplashNews.com
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Marvel Might Finally Be Moving on From One of Its Most Hated Characters
Marvel Might Finally Be Moving on From One of Its Most Hated Characters

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  • Gizmodo

Marvel Might Finally Be Moving on From One of Its Most Hated Characters

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Mr. Fantastic and His Powers Were Underutilized in THE FANTASTIC FOUR: FIRST STEPS; He Deserved Better — GeekTyrant
Mr. Fantastic and His Powers Were Underutilized in THE FANTASTIC FOUR: FIRST STEPS; He Deserved Better — GeekTyrant

Geek Tyrant

time4 hours ago

  • Geek Tyrant

Mr. Fantastic and His Powers Were Underutilized in THE FANTASTIC FOUR: FIRST STEPS; He Deserved Better — GeekTyrant

The Fantastic Four: First Steps missed a huge opportunity with one of Marvel's most visually creative superheroes. Reed Richards, aka Mister Fantastic, is supposed to be a stretchy powerhouse with abilities that defy the laws of physics. In the film, though, those powers are barely touched. What should've been a display of inventive, wild, and over-the-top visuals turned into a muted, limited showcase that felt more like an afterthought than a highlight. Now, credit where it's due, the film did a decent job of portraying Reed's intellect and leadership. He's thoughtful, composed, and clearly the brain of the group. But that's only half the picture. In the comics, Reed has a subtle charm and awkward charisma that makes him both relatable and admirable. That side of his personality was barely explored. He didn't need to crack jokes or go full Tony Stark, but a bit more emotional depth and nuance would've made him feel more alive. The biggest letdown, though, was how the film's creative team handled his powers. Mr. Fantastic can stretch, mold, twist, flatten, inflate… you name it. There are comic book moments where he's used his body as a net, wrapped himself around massive cosmic entities like Galactus, and turned into practically any shape needed to solve a problem. But in the film, his powers a very underutilized and limiting. At one point in the film we are watching Galactus strech Mr. Fantastic like a rubber band and he's screaming in pain. When you see how far is stretching ability goes in the comics, Galactus stretching him like that shouldn't have been an issue for him because it was nothing compared to what we've seen him do in the comics! We barely see any of those cool visuals from the comics in this film. His action moments are stiff and uninspired. Instead of showing Reed's resilience, it just made him look weak. The movie ignored everything fans know about how cool and versatile his powers really are. The creativity behind Reed's abilities is what makes him stand out in the superhero landscape. His power set should be a director's playground. You can do so much with the elasticity and adaptability of his body, yet the movie seemed afraid to go there. We didn't see him shape-shift in creative ways, use his body as a shield or slingshot, or even do something as simple as multitask with extended limbs in a high-stakes moment. They kept his abilities small, which is the opposite of what Mr. Fantastic should be. At the end of the day, The Fantastic Four: First Steps didn't give Mister Fantastic the treatment he deserved. His powers were underused, his moments of brilliance were too few, and his potential was left on the table. Reed Richards is a genius, yes, but he's also a one-man Swiss Army knife of superpowers. Hopefully, future film will fully embrace what makes Mister Fantastic truly fantastic.

Movie Review: Kristin Scott Thomas directs Scarlett Johansson in comedic drama 'My Mother's Wedding'

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Movie Review: Kristin Scott Thomas directs Scarlett Johansson in comedic drama 'My Mother's Wedding'

Before Kristin Scott Thomas turned 12, she lost her father and stepfather. Both were Royal Navy pilots who died in crashes. The first happened when she was 5. The second at age 11. Thomas uses these facts, a kind of origin story, as the basis for her directorial debut, 'My Mother's Wedding,' a comedic drama about family, trauma and getting on with it that opens in theaters Friday. Knowing that the story comes from a real place is important for the experience. It gives 'My Mother's Wedding,' a perfectly average film that doesn't quite land the way it should, an emotional depth that it's otherwise lacking. This is a strange shortcoming considering the caliber of the cast, including Thomas as the bride to be, and Sienna Miller, Emily Beecham and Scarlett Johansson as her daughters. But it's a cruel reminder that a good hook, talented actors, one killer monologue and a picturesque setting (in this case, the English countryside) aren't guarantees that a movie will work. In the film, the deaths may be in the distant past, but they continue to haunt Diana's (Thomas) adult daughters as she prepares to marry another. Diana's new man is not a dashing pilot, forever preserved in handsome youth. Geoffrey (James Fleet) is very gray. He likes to talk about birds, ospreys in particular, has never had children and comes with a very silly last name (Loveglove) that she plans to take. Her girls are not exactly impressed, though they've all got their own stuff to deal with. It should be said that Johansson is indeed playing a British woman in this film, and while I don't feel qualified to comment on the nuances of her accent, all I can say is that there is a consistently strange disconnect to hear it coming out of her mouth. Johansson is a great actor who I've believed in many wilder roles, from Marvel movies right on down to her Ellen Greene riff during 'Saturday Night Live's' 50th anniversary show. But, somehow, she's hard to buy as Katherine Frost: A British, lesbian Royal Navy officer in a longtime relationship with a woman named Jack (played by fellow beauty Freida Pinto). Miller's character is Victoria, a Hollywood actor known for franchise dreck (no one can remember whether the latest 'Dame Of Darkness' is the fourth or fifth in the series) and short-lived relationships. And Beecham is the youngest Georgina, a nurse who suspects that her husband is having an affair. To find out, the girls hire a private detective to surveil her house and show them the footage after the wedding. It's a very busy, fraught weekend for everyone. There's lots of fretting over why Katherine won't marry Jack, and why Victoria is dancing around a relationship with a wealthy, older French man when her childhood crush still pines for her. There's lingering anxiety about their mom marrying this man who seems so unlike the two heroes that came before and much discussion about the importance of last names, marriage and making sure kids feel like they belong to someone. Some things get resolved, but it's hard to shake the feeling that everyone might need a new therapist by the end. 'My Mother's Wedding' also has a silly lightness to it that's aiming for something along the lines of a Richard Curtis romantic comedy. But coherency of the vision is limited, as is the audience's investment, though there are some lovely and inspired touches like using Iranian artist Reza Riahi to hand paint several animated flashback vignettes based on her memories of her fathers. Thomas co-wrote the script with her husband, journalist John Micklethwait, which includes a particularly poignant monologue for her character telling her daughters, essentially, to grow up and move on — a mature and worthy statement that might come a bit too late. 'My Mother's Wedding' feels only partially realized. But Thomas did have the good sense to end with a song that might just conjure up some feelings for any 'Heartburn' fans out there: Carly Simon's 'Coming Around Again,' this time a duet with Alanis Morissette. 'My Mother's Wedding,' a Vertical release in theaters Friday, is rated R by the Motion Picture Association for 'brief nudity, some sexual material and language.' Running time: 95 minutes. Two stars out of four.

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