Why Spider-Man is the Youthful Comic Book Film of the Summer

Spider-Man: Homecoming was a joy.

Right from the start, you could tell that this film was something different, not just with the opening callback to Captain America: Civil War, but also with the dealing of Spider-Man’s—in a single line at the top of a scene to sum it all up: “The spider’s now dead.” Rebooting (or side-booting?) the character into the nine-year-old MCU (or Marvel Cinematic Universe for those needing to fill up a word count) gives us a fresh take on the character unlike that seen on screen before; here, Peter Parker’s idols and inspirations are superheroes. In a world where being an Avenger is the near-impossible goal, in the same league as chart-topping pop stars, Peter sees joining Tony Stark’s crew as his way out from the disaster that is the American education system. It’s an agency akin to Tony’s from Iron Man 2, but handled far more prominently and successfully. Like Tony back then, Peter has to grow up first.

Tom Holland is impeccable as Peter Parker, searching to belong and find a purpose in his life of high school classes, and as Spider-Man he only grows further into the character, struggling to grasp the capabilities of his Stark-created suits as well as that of himself. Played mostly (and rightly) for laughs, Holland is clearly having a ball—as is the rest of the cast, from Jacob Batalon (playing Peter’s best friend and fellow nerd Ned) to the superbly dry Zendaya (Michelle). Not only does everyone on screen look like they’re enjoying themselves, but it's easy to see that this is a film Marvel Studios has been desperate to make.

The involvement of various MCU hallmarks all largely succeed too, S.H.I.E.L.D. is mentioned and there are a couple of glorious government-made school videos featuring Captain America. I do hope there are extended versions of these on the blu-ray. Robert Downey Jr’s involvement feels natural and organic too, although he has an un-noticeably low screen-time, he has his own little arc and his presence is felt throughout.

The film’s action and scale were naturally and rightfully low-key—there is no toxic gas threat to kill the population of New York or international destructions to avert. Fighting lower-level criminals might be the domain of Netflix’s Defenders, but it is also perfect ground for Spider-Man to grow. Keaton succeeds as the Vulture, being a lovable rogue who sees alien technology as a way to support his family. With motivation far more relatable, and an agenda both sensible and understandable, Vulture is certainly a part of the better half of Marvel villains. The fights feel dangerous, and very tense, although sadly a surprising lack of bruising shows up in any morning-after scenes.

The action being more intimate and personal, this film should feel like a breath of fresh air to the packed blockbuster summer timetable. Yet… it isn’t. Perhaps it's the long history of the Marvel universe before it, or maybe the fact that a lot of action was spoiled in the ridiculous number of trailers released before the film came out, but when looking back on the film there is a certain flatness. Other than a nice narrative twist at the start of the third act, there is nothing here to surprise audiences. Getting exactly what is described on the tin isn’t necessarily a bad thing, and the straightforwardness of the plot will help keep the younger end of audiences engaged, yet the lack of genuine twists and surprises leaves the film feeling as though its missing something in retrospect. Ironically too, since it’s a packed film.

With multiple contracts reaching their ends with the next pair of Avenger films, the close of the film definitely has the feel of the baton beginning to be passed on to Peter as a new headlining Avenger come Phase 4. And rightly so. Tom Holland’s full debut in the MCU was an extremely enjoyable affair full of treats. And—even better—it didn’t end on another laughably exaggerated CGI finale.