by Chris Feil
It’s another go around the spider’s web again. With Spider-Man: Homecoming, the second reboot in under a decade, Peter Parker cashes in some MCU cache in attempt to regain audience enthusiasm after a string of disappointments. The good news is that director Jon Watts (Cop Car) and team have delivered a distinct revamp that may be far off from the cinematic heights of Sam Raimi’s first films, but is still one of the most entertaining. As we last saw him in Captain America: Civil War this is our youngest Spider-Man yet, and he may not be ready for his crime-fighting responsibilities yet.
This Spider-Man shines with a comic identity unique to both previous incarnations and the Marvel Cinematic Universe itself. There are more stylistic riffs, like the opening “documentary” Peter creates, that make an otherwise fairly safe superhero film feel fresh and not overly manicured. Taking more of a page from the 80s animated series, this is the most wise-cracking, aw-shucks webslinger, as satisfying as he is on screen thanks to the effortless charms of Tom Holland.
Holland’s Civil War scene-stealing and “Umbrella” awe-inspiring lipsyncing weren’t flukes - we’ve got a major young star in the making, with comic chops and charisma to spare. His Spidey is ambitious and eager, desperate for the approval of Tony Stark and a place alongside his Avengers. While his idolization of the superheroes he grew up with approaches commentary on the blind loyalty of the fanbase, Holland keeps the film grounded with believable youthful restlessness.
This Spider-Man entry gives the hero and the audience a little bit of breathing space, giving us a lively ensemble that focuses less on reflecting series iconography and more on giving the audience characters to care about. There are a few MCU familiars (with Robert Downey Jr. playing a significant role), but the standouts are Peter’s friends and Marisa Tomei’s fidgety Aunt Mae. Zendaya comes with unexpectedly dry comic chops, a hilarious scene stealer and fun opposite to Peter’s enthusiasm. Jacob Batalon as Peter’s bestie and confidant Ned is the uproarious audience surrogate, his wide-eyed giddiness helping us get pretty amped even if we’re grown weary of the webslinger.
Michael Keaton’s Vulture reflects contemporary concerns, but while he is given more development than most Marvel cinematic villains he remains only a mildly compelling one. The attempts to attach him to the larger MCU and Peter’s journey become a bit convoluted for an otherwise nimble film, and his moral compass doesn’t always feel coherent. Keaton however is as absorbing as ever and sells the characters flimsier points with his intimidating presence - and without a distracting nod to all his superhero history.
Though everyone in this diverse ensemble gets a moment to shine, Homecoming doesn’t give its women much to do beyond circling Peter’s orbit. This is especially true for both Tomei and Zendaya, despite the unique energy they both bring to a film delivering mostly the same (however pleasant) notes. Their laugh-per-minute ratio rivals that of even the hero himself, but their parts remain all too small.
You can really only feel the films’ six (SIX!) credited screenwriters in its dulled edges and strictly-followed formula. Homecoming’s comic ingenuity doesn’t carry over to the action, with the most exciting set pieces are in the first half before the battling become familiar. The film might work best for audiences if approached as a high school comedy / action hybrid, with a stronger emphasis on the comedic elements. You can safely put the film in the upper ranks of MCU films, but as far as its thrills are concerned, it falls somewhere in the middle.
Taking as many cues from high-school classics as superhero ones, Spider-Man: Homecoming breathes new life into a franchise we had grown weary of.
Grade: B