If Avengers: Endgame acted as the conclusion of an era, then 2019’s Spider-Man: Far From Home launches a new one – I guess. As the first Marvel Cinematic Universe (MCU) flick after the epic Endgame, Home brings the first taste of where matters will go, though it remains to be seen what overall path Marvel chooses to follow.

As Peter Parker (Tom Holland) and his friends/family readjust to life after “The Blip” knocked many out of existence for five years, he craves normalcy. A class trip to Europe sounds like a good way to readjust, and he plans to leave his superheroic alter ego Spider-Man at home while he sees the sights and hopefully woos his crush MJ (Zendaya).

Inevitably, matters interfere, as monsters called “Elementals” lay waste to various destinations. A new hero named Mysterio (Jake Gyllenhaal) largely dispatches these creatures, and he earns Spidey’s trust.

Complications arise from there. A variety of twists ensue that tax Peter’s ability to mix his normal life and his work as Spider-Man, all while he attempts to save the day.

After a small part in 2016’s Captain America: Civil War, 2017’s Homecoming acted as Holland’s first feature-length stint as Spidey. I already said this when I reviewed Homecoming, but I really don't like the "Iron Man-ization" of Spidey.

That's what feels false to me. We get this insistent need to tie together every MCU character, no matter how awkward the fit.

I don't think the movies need to be entirely beholden to the original source, but I do prefer the Peter of the comics and prior movies who was more of a loner and the "neighborhood Spider-Man".

He fought major battles but did so on his own turf and kept things pretty local. He was a homemade superhero, a contrast back in the 1960s to the well-funded elite of the other Marvel characters.

Now Spidey encounters none of those issues. He sports super-high-tech costumes provided by Stark and jets around the world.

I get that Marvel's plan for cinematic domination means they refuse to let anything stand in isolation, and I respect their decision to shake up aspects of the Marvel universe. I like some of the changes, especially the shift in character for MJ, as it's fun to get a different take on that character.

It's taken longer to adjust to May as an AILF, but it's a good change - and one that seems logical, as the MCU May is much more age-appropriate than the 900-year-old in the comics.

But I just don't think making Spider-Man into "Iron Man Jr." works at all. It takes away from Spidey's inherent sad sack/regular guy who can't catch a break vibe when he has active support from a massive technology company.

Much of the plot feels like little more than an excuse to send Spidey all around Europe, and it doesn't satisfy. It seems like the class trip exists for no reason other than to plop battles in these locations, and it's an ineffective choice.

While I disliked the "Iron Man-ization" in Homecoming, I thought at least that its action scenes worked, but that's less true here. While the battles aren't bad, they're never all that thrilling, and the confusing nature of Mysterio's abilities and other plot points doesn't help.

At least Holland does a better job here. In Homecoming, I thought he played Peter more as a 10-year-old than a mid-late teen, but in Home, he comes across as more stable and mature.

Some of that may stem from the character's changes, as the "Blip" and the battle with Thanos would've impacted him. Whatever the case, Holland manages a more natural performance that lacks the annoying hyperactivity of his Homecoming turn.

I've always loved Spidey and I largely adored the Raimi movies, as those felt like they remained true to the character. The newer Spideys lack the same earnest connection to the character and tend to come across as cogs in the larger MCU machine.

Footnote: as usual, stick around through all the end credits for bonus scenes.

Spider-Man: Far From Home appears in an aspect ratio of 2.40:1 on this Blu-ray Disc. As expected, the movie came with good visuals.

Overall sharpness seemed strong. Only a hint of softness impacted the image on a few occasions, so it usually remained tight and concise. I saw no shimmering or jaggies, and both edge haloes and print flaws remained absent.

Like every other modern action movie, Home opted for an orange and teal orientation. These choices didn’t overwhelm, and the Blu-ray depicted them in an appropriate manner.

Blacks showed good depth, and shadows offered largely nice clarity and smoothness. A few low-light sequences came across as slightly opaque, but these weren’t a major issue. In the end, the movie provided pleasing visuals.

In addition, Home brought us a stellar DTS-HD MA 7.1 soundtrack. As one would expect, the soundscape opened up best when it indulged in its many battle sequences.

These used the various channels in a vivid, immersive manner that placed the elements in logical spots and meshed together well. The track gave us a strong sense of place and action.

Audio quality also pleased. Speech remained natural and distinctive, while music was full and rich.

Effects came across as accurate and dynamic, with tight low-end. I liked this mix quite a lot.

Expect a slew of brief-ish extras here, and we begin with Peter’s To-Do List. A short film, it runs three-minutes, 22-seconds and shows Peter’s prep for his trip. It’s essentially a deleted scene, and it’s fun.

Speaking of which, five Deleted/Alternate Scenes span six minutes, seven seconds. Most of these fall under the “enjoyable but inconsequential” umbrella. They’re entertaining but nothing substantial.

Gag Reel & Outtakes lasts three minutes, 35 seconds and shows the usual goofs and giggles. Some alternate lines emerge, though most shoot for comedy and clearly didn’t intend to make the final film.

More alternate footage appears under the four-minute, 58-second Teachers’ Travel Tips. It shows unused snippets, with an emphasis on the JB Smoove and Martin Starr characters. More amusement results.

Via The Jump Off, we find a six-minute, 19-second featurette with notes from 2nd unit director/stunt coordinator George Cottle, producer Amy Pascal, executive producers Rachel O’Connor and Eric Hauserman Carroll, director Jon Watts, and actors Tom Holland, Tony Revolori, Jacob Batalon, Jake Gyllenhaal, Angourie Rice and Zendaya.

Here we learn about the movie’s stunts and practical effects. I like the footage from the set but the comments tend to be superficial.

Next comes Stepping Up, a three-minute, 42-second reel with Watts, Holland, Carroll, producer Kevin Feige, co-writers Chris McKenna and Erik Sommers, and actor Samuel L. Jackson. “Up” looks at Spidey’s evolution across his MCU appearances, and it becomes a fluffy show.

Suit Up lasts four minutes, 38 seconds and brings Holland, Carroll, Pascal, Zendaya, Jackson, O’Connor, costume supervisor Graham Churchyard, associate costume designer Michael Mooney, and production designer Claude Pare. We look at various Spidey costumes in this fairly superficial piece.

After this we find Now You See Me, a six-minute, 30-second program with Gyllenhaal, Holland, Jackson, O’Connor, Watts, Churchyard, Mooney, and Pascal. “See” covers the movie’s depiction of Mysterio. Expect a lot more superficial content.

With Far, Far, Far From Home, we locate a five-minute, 14—second segment with Holland, Revolori, Batalon, Pare, Pascal, Gyllenhaal, Carroll, Zendaya, Jackson, O’Connor, and actors Remy Hii, Zach Barack and Cobie Smulders.

“Home” examines various locations. It’s another fluffy piece, one that makes the odd contention that the film offers Spidey’s first experience outside of New York. Did those involved forget Civil War and the last two Avengers movies?

It Takes Two lasts three minutes, nine seconds and involved Watts, Holland, Carroll, O’Connor, Pascal, and Gyllenhaal. “Two” tells us how wonderful Holland and Watts are. Yawn.

Secondary characters become the focus of the three-minute, 29-second Fury & Hill. Here we hear from Pascal, Smulders, Jackson, O’Connor, Holland, Watts, and Carroll as they discuss the former SHIELD agents. It’s another forgettable reel.

With The Ginter-Riva Effect, we discover a one-minute, 32-second clip that features McKenna, Sommers, Carroll, Holland, and actor Peter Billingsley. It brings us a brief look at a minor character, so don’t expect much from it.

After this we find Thank You, Mrs. Parker, a three-minute, 35-second piece with O’Connor, Watts, Holland, Pascal, and Carroll. They discuss the series’ updated view of Aunt May.

As anticipated, it brings more fluff, though I do agree that the younger May makes more sense than the 200-year-old one from the original comics. Usually I don’t like the ways the MCU messes with Spidey lore, but a 50-something woman as Peter’s aunt seems logical given his age.

Hidden elements crop up in the four-minute, 23-second Stealthy Easter Eggs. Holland introduces the reel and then we hear about a few references/tough to detect moments.

O’Connor and Pascal offer a few comments as well. It becomes a decent examination.

For the final featurette, The Brothers Trust spans 11 minutes, 44 seconds and includes Holland plus his brother Sam, Harry and Paddy as they introduce a look at their charity. I’m sure it’s a good cause.

Under Select Scene Pre-Vis, we can check out planning work for five scenes. With a total running time of eight minutes, 20 seconds, this section displays the computer animated pre-vis in a large box with the final footage in a smaller area. It acts as a fun way to compare the two.

The disc opens with ads for Jumanji: The Next Level, Men In Black International, Spider-Man: Into the Spider-Verse, Marvel Animated Series and Alex Rider. No trailer for Home appears here.

As a superhero adventure, Spider-Man: Far From Home offers a sporadically entertaining affair. However, it doesn’t connect as well as I’d like, so it becomes a moderate disappointment. The Blu-ray boasts solid picture and audio along with a long but superficial roster of bonus features. I don’t dislike Far From Home but it launches the MCU’s post-Endgame world on an iffy note.