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SPIDER-MAN: HOMECOMING ADDS TONY REVOLORI TO CAST
With great power comes great responsibility, and the filmmakers behind Spider-Man: Homecoming are taking relaunching Spider-Man for the third time in 15 years very seriously. As such, they are shoring up their ranks by adding yet another talented young actor to the cast — Grand Budapest Hotel star Tony Revolori. According to Deadline, Revolori, who played Ralph Fiennes’ sidekick in Wes Anderson’s Grand Budapest Hotel, has been tapped to play a key role in Sony Pictures’ Spider-Man: Homecoming, which is gearing up to commence production this summer. The role is said to be that of Peter Parker’s high school rival, a role that will put him at odds with your friendly neighborhood Spider-Man’s alter ego, but not in a villainous way. So who could Revolori be playing? Unless Revolori bulks up considerably, I don’t see him playing Flash Thompson, the football star who mercilessly bullies Peter at Midtown High School. However, I could see Revolori portraying someone else like Charlie Weiderman, another student at Midtown who is even more bullied than Peter. In fact, Peter himself even leverages Charlie’s misfortune to win points with the popular kids. However, Charlie, who was bullied at school and subjected to regular beatings from his father at home, swore revenge. While Charlie isn’t an outright villain, it would certainly create a fascinating dynamic with our hero, and give him a major moral hurdle to overcome, too. The news of Revolori’s casting comes hot on the heels of a rumor that Michael Keaton may join the project as a villain, possibly the Vulture. Revolori joins a cast that includes Tom Holland as Peter Parker, Marisa Tomei as Aunt May, and Zendaya as Michelle, one of Peter’s classmates. [source]
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Tony Revolori & Saoirse Ronan in The Grand Budapest Hotel by Wes Anderson.
Review: The Grand Budapest Hotel
So I finally got to see The Grand Budapest Hotel.
And what did I think?
IT WAS AWESOME.
Wes Anderson weaves his tale with gentle simplicity. He uses the absolutely gorgeous art direction and cinematography (once more Robert D. Yeoman) to create a wonderfully picturesque and angelic world of snow, mountains and bright colors, with everything looking as if it's made from the most wonderfully delectable candy in the universe.
His writing is understated as always, yet sharp and witty, giving us dozens of blink-and-miss-it jokes either by purely visual means or by the wonderfully intricate words and use of language.
He also uses his camera to help frame this world and it's multiple timelines, using three different aspect ratios to help the audience place themselves. However, it never feels like a gimmick, but instead enhances the storybook-like nature of the narrative.
The performances are understated as well, but never veer into emptiness or uninterested. Of special mention is, of course, Ralph Fiennes, who turns in an incredibly vibrant performance as the posh, unflappable Gustav H. He should definitely be considered for Best Actor, as his performance is, so far, the best I've seen all year.
Another special shout-out to Tony Revolori, who, in his film debut, is natural and likable as the adorkable Zero. F. Murray Abraham also gets props for giving the fine, bittersweet performance of M. Moustafa.
Of course, the cast is far too large to analyze actor by actor, so I'll just come out and say that this is some of the best ensemble acting I've seen in a long time. Everyone plays off of each other expertly, from the bizzare turn Mathieu Amalric takes to the creepy Willem Dafoe to the snide Adrian Brody. Of course, Wes Anderson alumni Jason Schwartzman, Bill Murray and Owen Wilson give wonderfully memorable bit parts, and finally, Soarise Ronan shines as the wonderfully sweet natured and beautiful Agatha.
The film also is able to present an ending that, if done by anyone else, would be a very bittersweet one, but here, instead feels like the ending of a storybook. Yes, there is an element of sadness in the fate of the hotel, but we are instead told to remember how it was, a wondrous place, symbolizing a hyper-romanticized vision of old Europe. This feels like a world, that, while still 'real' is distinctly fantastical. Simply put, it's beautiful.
Also, Alexandre Desplat's music is absolute perfection, sounding more like actual folk music then film music, and blending into the film perfectly. I desperately hope it gets recognized come Oscar season.
I give a strong 5 out of 5.
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Wes Anderson’s The Grand Budapest Hotel