There is a beautiful moment in Spider-Man: Homecoming, perhaps my favorite moment in the whole film where the youngest-looking incarnation of Peter Parker/Spider-Man (Tom Holland) yet is trapped under a hell of a lot of rubble after a building collapsed on him in an image nearly reminiscent of the famous cover of Amazing Spider-Man #33 (something I doubt was unconscious on the part of the mothership company Marvel themselves finally getting to co-produce the superhero after all of these years). And there’s obviously no way Spidey won’t make it out of here but for once Holland breaks away from his otherwise joyously bubbly and bright performance as the young kid to start crying for help under the weight and selling the threat of his crushing death, before getting to see his makeshift Spider-Man mask under a puddle of water with his reflection filling out half of the watery darkness, thereby recreating another famous Spider-Man image halving Peter’s face and the Spidey cowl as one. And it’s a very inspiring and self-reflective moment for the character that assures both Parker and the audience and gives him the resolve to get himself out of this situation.
And the movie redundantly ruins this wonderful moment with a hamfisted voiceover reprise of Tony Stark (Robert Downey Jr. both literally and metaphorically phoning his performance in) saying “if you’re nothing without this suit, then maybe you shouldn’t have it.” Which is not only a shitty misfire of tone in its condescending wording, even if it’s an attempt to re-establish the message, but it’s also emblematic of exactly how I feel about Spider-Man: Homecoming. It’s not exactly a classic in the sense of Raimi’s works, but it’s a movie with its own strengths that could stand on its own if only the Marvel Cinematic Universe would kindly stop butting in every once in a while.
I do have to give Spider-Man: Homecoming (and that title keeps me just shuddering at the unnecessary shade of Marvel Studios towards Sony Pictures) some credit. As would be common sense, producers Kevin Feige and Amy Pascal, director and co-writer Jon Watts, and the dizzying six man revolving door of the writing team knew that it would be completely unnecessary and redundant to re-establish the origin story of one of the most famous superheroes of all time and yet Homecoming feels every bit like an entry tale for our favorite webslinger. And it wouldn’t be able to do that without the greater context of the Avengers and how Spidey is THIS close to earning Stark’s approval and joining them, but I wonder if it would be a bad thing if we didn’t have that?
It just feels so ultimately divorced from the truly stellar element of Homecoming: the “friendly neighborhood” aspect. Holland is so boyishly charismatic and engaging within the part that just having him interact with anybody – the people on the streets in which he helps out, the A.I. in the suit Tony Stark gifts to him, the overabundance of high school friends that doesn’t fit my idea of “outsider” Peter Parker but certainly gives us a lot of charming high schooler material – is not only wonderfully entertaining, but reverses the scope of the whole MCU and gives a sense of tactility to the community sense of localized superheroes, a concept that doesn’t really come to play anywhere else in the MCU except their Netflix series.
The entire cast is the best salesman on this premise: Holland wrestles eagerly with this sense of anonymous celebrity, Michael Keaton as the villain Victor Toomes has a sense of frustrated blue-collar workaday escalation to his aggression (his one big EVIL moment where he kills a man on-screen is undercut by him mistaking the weapon he used and I don’t think it’s an accident that Keaton sells that surprise very well). Donald Glover, in a two-scene cameo, essentially delivers the tired inconvenience you’d expect New York would have facing alien forces and consistent destruction. The strength of Homecoming is in the smaller human elements, those touches of a living city underneath (even if it’s Atlanta playing New York City in a conspicuous way). It is no accident that the best setpiece in the whole film is a comical one of Spidey finding it very hard to swing webs in a suburban residential area and forced to superpower-Ferris-Bueller his way around, a wonderful moment of character and geography.
It is unfortunately the ONLY great setpiece, which is a shame because anybody who has seen Holland at work on stage knows he’s certainly the most athletically capable of all of the screen Spider-Men. But Watts and editors Dan Liebental and Debbie Berman just don’t give him his due, never finding a true rhythm to the moment whether it’s a bank robbery, a jet heist, or scaling the Washington monument and never finding dynamic ways to represent the high-flying physicality of Spidey the way Holland’s hollerings do so, nor does it bother to cover up its CGI much beyond the “night time means no lighting to see it”. And that’s really disappointing for a climax as restrained as this film’s.
I can’t say it feels less like a product than Marc Webb’s time with the character, but it also is a lot more fun with it. Sure, the aggressively eager-to-please nature of having every character that isn’t Mac Gargan (Michael Mando) be able to perform a quick gag seems kind of insincere, but it’s nothing less than platonic. Spider-Man may have found himself in a new prison confined to being another stepping stone to the next Avengers movie, but he seems to at least be having fun there and he’s got great company, so there’s no big problem. It could be worse.