Review: Spider-Man Homecoming

It's very easy to get caught up in the comparison game, especially with superhero movies. Jon Watts' new movie is not the Sam Raimi incarnation of the character nor the Marc Webb one. There's a hive mentality that forms when fans are married to specific works or unified against one and the best way to approach this third cinematic attempt at the character with as clean a slate as possible. There's so much emotion associated with Spider-Man that it's also wise to ignore the loudest of the praise and the criticism bestowed upon the films.

Spider-Man Homecoming is possibly the most in tune with the tone of the original comics as any to date. Though the previous films touched on key moments in the saga and evoked many of the great frames from lore, the youth of Peter Parker/Spider-Man has never felt more real. Part of what makes the character so special is his youth and the pitfalls it adds to his routine. He's rash, jumps into danger, and processes things differently. Something about the high school experience in Homecoming feels more real and less like an adult's impression of the high school experience. It's the biggest success of the film, though perhaps the filmmakers overcompensated a bit with the approach to the characters in terms of race. It doesn't feel as organic as it could be, and while it's great to see a plethora of non-white faces populating the story it does feel forced. The Grand Budapest Hotel's Tony Revolori in particular doesn't have to be playing Flash Thompson, as his bully character shares no traits other than the name. He would have been just fine with a different name, and the "Penis Parker" joke just does not work. It's a small gripe but a gripe nonetheless.

The fact the film doesn't rehash the Uncle Ben murder is a nice counterbalance. That old man has suffered enough onscreen. Perhaps we're reaching an age where the "origin story" becomes obsolete. It's really just wasted time for an audience now savvy enough to have a little go a long way in terms of justifying these superhumans on the planet.

The plot showcases the post Captain America: Civil War Spider-Man dealing with his dual life and counting down the moments where he's once again in the company of the Avengers. He's enamored of Tony Stark and enjoying the benefits of the relationship both in technology and access. To the point where his own life is in stasis. Peter Parker has taken a back seat to his costumed hero and it's keeping him from experiencing the best life has to offer. If Homecoming does one thing, it sets the stage for the Spider-Man we know and love moving forward.

It's odd. The inclusion of the ever-popular Robert Downey Jr. is great for attention and fan appreciation but it almost damages the film. There's a "phoning it in" component to Downey's participation and much of the actual interaction is given to Jon Favreau's Happy Hogan. The connection to the MCU is a huge boon to the Spider-Man universe but in reality Iron Man is one of the least exciting team-ups in Spider-Man's repertoire. It works and it's fun, but it's almost a weight. Especially considering that the film's villain is sort of like a low rent Iron Man as portrayed here.

Michael Keaton was always the most exciting x factor to the film. The actor, knee deep in a legitimate career renaissance, is a fresh addition to this world despite his background in the genre (both as Batman and Birdman). The Vulture in the comics was a hilarious old coot who worked on the page but seemed tacky for the screen. Here, Keaton portrays a man shafted by Damage Control (led by Tyne Daly, no less) on the contract to clean up the city after the events of The Avengers. To rebut, he steals some alien tech and begins a side career of building weapons for sale on the black market. As a result The Vulture (and The Shocker as well, portrayed by Logan Marshall-Green and then Bokeem Woodbine) is born. He's a fitting adversary for Spider-Man and in the film's great third act twist [DO NOT GET SPOILED BY READING WIKIPEDIA] he elevates the material in a really special way.

The special effects are terrific, and though it never feels like it's a real person in the CGI Spidey character, it works. Quite a few poses and moments from the comics surface here to great effect. There's also a beautiful scene involving a jet using camouflage that takes the norm and spruces it up.

Tom Holland is excellent, selling the burgeoning confidence of a nerd given great power and responsibility. He's the best fit for the role yet and it appears he'll be anchoring the universe moving forward. It's in good hands. Keaton and Jacob Batalon as Parker's best friend Ned (Leeds?) also keep the film flowing. The additions of Donald Glover, Martin Starr, and Hannibal Buress are fun but a bit distracting. Because comedy vets Jonathan Goldstein & John Francis Daley are among the credited writers the film skews towards humor a little more than normal but it keeps things light.

It's a very strong film that wins where it needs to. Is it the best Spider-Man movie? Does it really matter? It's a load of fun and while it doesn't move the needle much it showcases a very wise evolution for a genre that is going to be here forever.

Artwork by Simon O. Wright.