playing a significant role), but the standouts are Peter’s friends and Marisa Tomei’s fidgety Aunt Mae. There are a few MCU familiars (with Robert Downey Jr.
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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. 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.
His Spidey is ambitious and eager, desperate for the approval of Tony Stark and a place alongside his Avengers. 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. 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. 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. This Spider-Man shines with a comic identity unique to both previous incarnations and the Marvel Cinematic Universe itself. 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. 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. 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.
It’s another go around the spider’s web again.
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