dir. by Jon Watts
One day, the Marvel Cinematic Universe will consume us all, but for now, it's an astonishingly consistent and frequently delightful if overly serialized blockbuster series which has yet to produce a proper failure. Its third phase, in particular, has achieved a sublimely even quality across its four entries so far, all of which are compelling in their own way. At this point, the Marvel stamp is commonly viewed as a stamp of quality, and although none of these films are high art, they're entertaining and intelligent blockbusters which deliver light thrills just as well as character drama.
Spider-Man: Homecoming, despite its peculiar release arrangement with Sony, is not only on par with its phase 3 brethren, but rises up to be quite possibly the best of the lot. It's a simpler story than many of the studio's other offerings, but that's to its advantage, as it avoids the increasingly oppressive seriousness of the universe's most significant entries while retaining a sharp wit and a low-scale intimacy. It's fun like Marvel films always are, but it's also charming and fresh to a degree which is less common in this franchise.
Peter Parker (Tom Holland) is just your ordinary high-schooler, except for two things: one, he's being mentored by Tony Stark (Robert Downey Jr.), and two, he happens to be the superpowered hero Spider-Man. Waiting on his next mission from Stark, he fights what petty crime he can find, although not always competently, and in the process uncovers a group illegally selling weapons powered by Chitauri technology, and sets out to stop them.
While prior Spider-Man incarnations also included a teenage element, Homecoming includes a more youthful take on the character and places much more emphasis on his adolescence. The first act-and-a-half of the movie is largely devoted to Peter hoping for a new mission and feeling underestimated by the adults around him, while also struggling with social awkwardness which could easily be solved by revealing his identity. We never hear the "great responsibility" spiel, but it still resonates every time Peter resists the urge to use his powers to help his reputation. This Spider-Man is starting his superhero career at the same time that he's starting to see the world more complexly, and the film derives some great character development from applying the usual ordeals of adolescence to a burgeoning superhero.
Indeed, because so much of the film is focused on Peter simply waiting for something to happen, the first act has a few lulls. Even when the action picks up, it's attuned specifically to Peter's character arc, often slowing down for interactions with best friend Ned (Jacob Batalon), love interest Liz (Laura Harrier), rival Flash (Tony Revolori), a snarky classmate named Michelle (Zendaya), and even Tony Stark himself, who takes on the role of a father figure. At least one action scene has no purpose other than showing Peter his limits, and the classic coming-of-age conflict between who you think you are and who you really are interacts wonderfully with the superheroic action.
The aforementioned action is endlessly inventive, containing several of the MCU's best action setpieces, including a particularly memorable one on a cloaked airplane. Spider-Man's versatility is a huge asset, and watching him explore his new powers allows for a lot of novelty while he climbs buildings and zips around bridges, skyscrapers, trees, and even helicopters. Peter's abilities are limited primarily by his understanding of them, which allows the film to drip-feed a few new tricks as well as tease some more complex ones which might get more use in inevitable sequels. There's a simple joy in watching Spider-Man zip around, but the film's best action scenes also build a lot of tension and high stakes, and not one falls flat.
Homecoming also bears the distinction of being quite possibly the funniest Marvel film since the original Guardians of the Galaxy. Peter's enthusiasm is charming, and the script is filled wall-to-wall with clever gags, many of which are derived from the minutiae of the high-school setting, and many more of which come from Peter still discovering his boundaries and learning new tricks of superheroism. As much of this is down to impressive comic timing from the broad supporting cast, each of whom plays a somewhat broad but very charming character, and these bit parts add so much flavour that I really hope they get even more screentime in the sequel.
Michael Keaton plays the villain Adrian Toomes, also known as the Vulture, who here is written as a construction worker who starts selling Chitauri technology in order to support his family. He's further evidence of Marvel's efforts to fix their "villain problem," his backstory does lend him some depth, but that depth is partially negated by the film's need to have a clear villain and demonstrate a relatively straight-faced villain. In the end, he's afforded some sympathy by Peter, but the greater implications of his motivations, which are spurred by Stark's own Damage Control organization taking his work from him, are unfortunately ignored, and he's not a particularly dynamic character otherwise.
Thankfully, Keaton gives a terrific performance which adds a lot to the character's menace, and while he and RDJ offer a lot to live up to, Holland is at least as good, fully embodying his character and delivering his lines with conviction and energy. The supporting cast is asked to do a lot less, but they're all up to the task, especially Marisa Tomei, who does such a great job with Aunt May that you wish she was given a more active character.
Like Ant-Man, Homecoming is burdened by its connections to the greater universe, and despite being the first Spider-Man film in its continuity, its plot doesn't always stand alone. A few references are made to Captain America's new criminal status following Civil War, and Peter's relationship with Tony Stark builds off of that film as well, but unlike Ant-Man, these tie-in elements never feel extraneous. Just like the action scenes, they're tuned to Peter's character arc, and almost exclusively show up for minor gags or in service of Tony's mentorship of Peter. This Avengers baggage is probably the trade-off for ditching the origin story, and as executed here, they're worth it.
Homecoming has a few other issues, including a slightly contrived final act and a couple odd tweaks to the source material, but on its own merits, this is quite possibly the best film of Marvel's third phase so far. Spider-Man has been through many interpretations on screen, and some of them cast a long shadow, but this new incarnation can stand up tall with the best of them. It's been a long journey for Spider-Man to join the Marvel universe, but the payoff is absolutely worth it.
8/10
+ Witty, hilarious script.
+ Peter's character arc is relatable and satisfying.
+ Rock solid action.
- Some wasted potential with the villain.
- A few contrivances in the final act.
- Doesn't really stand alone.
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Todd Throndson
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