Jon Watts in Spider-Man, an independent director and a character who had lost himself in the machine of franchises, are all reasons to hope. Spider-Man Homecoming has set high on the scale of expectations, for the public awaiting for takeover of this ultra popular hero, and for the MCU hitherto orphaned of its most famous character. In many respects, the film is a success that does not to perfection, a favorite for the Spider-Fans with defects specific to the execution of the “Marvel Studios Movie” – this time without the average, because that real efforts are made to give the whole, from the atmosphere to the tonality, a true personality. Million things to say, so why not start?
Spider-Man Homecoming displays from its title until its end credits a meta fictional color.
The footage immediately presents Peter Parker as a fan of the Avengers who has known all the stages of the construction of the MCU from the window of his room, and voluntarily chooses to treat this aspect as one of its main stakes in filigree: important for the ‘DNA of the series as for its public, it appears like a retrospective look on the way traveled. Tony Stark, presented in the trailers as a mentor figure, in fact directly assumes the image of the father – his status as designer of the costume will also have his part to play in what criticism already calls the “Spidey 2.0“.
Stark, the model and founder of the Marvel saga in cinema, inherits an eventually not so important, but symbolic presence: there are many references to the first Iron Man and the year 2008, when everything began. We place different moments of the film on the Avengers (first of the name) or the combat scene of the airport in Civil War, and even at the end continue to graft several references to the universe of fiction in which the Peter Parker of the real world grew up, and saw rising before them the new giants of super-hero pop-culture. A path that justifies all the generational aspect of the film, with his hero of 15 years.
Because Parker is here a real teenager. It is this aspect that Watts developed when speaking of John Hughes in interview, central director on the dilemma of the adolescent ‘and its relationship to the complicated world of adults. Again, the references will be numerous (or even too much supported), with in particular the role played by Zendaya, obvious resumption of the young Ally Sheedy in The Breakfast Club. The stakes will be rested at this height of pacified kid, enclosed in the small world of Queens, the corridors of her high school and away from the great panoramic shots of a Spidey between two skyscrapers dear to Sam Raimi.
The theme of this hero is that of the adolescent who wants to grow too fast and accumulates mistakes while seeking to do well. A beginner and awkward Peter who is attached immediately, and the great success of the film will be to have managed to identify the character (which some will have more difficulty to realize). Somewhere, the sobriety of these stakes and the naive aspect of the hero do much for the viewer’s investment, much more with Spider-Man, a fan-favorite character that everyone can identify with.
In terms of narrative, the film is based on a construction that is still very codified. Perhaps a choice that would put an end to those who hoped Watts and Coogler would be the symptom of a truly different Marvel – this is the case in many ways, but the “super-heroic” formula is not completely upset. On the other hand, it is amusing to see the director accurately dose Peter’s moments of life in high school in a teen-movie angle that renews well the use of humor in the MCU.
To go further, Michael Keaton’s Vulture also takes advantage of an extra effort compared to the villain of the episodic classic: more interesting, well interpreted, He opens and closes the film with the same height of stakes as its opponent in trouser . More human, brought back to understandable stakes that are not those of an umpteenth megalo, he also participates in the identity of the film by being additionally small enough to leave the sequences of faces of greater magnitude. Michael Keaton is very comfortable in the role, so much so that we would almost like to see what he would have done with a Green Jester if the choice had been given him.
Spider-Man Homecoming, however, is not free of defects. Mistakes in connection or staging in the phases of actions taint the whole, as well as certain redundancy in the rhythm – which presents itself as an evil more and more prevalent in the blockbusters of today . All the actors do not give the best of themselves, and it is regrettable that the film is not more generous on the construction of a small Spider-Man mythology separate from the gargantuan MCU – or reassured, if Sony has already inflated you on their recent statements. However, there are indications here and there for the sequel, and a sporadic integration with the other films which will justify all the better the absence of the Weaver in the shared universe, if this must be done. Special mention to Chris Evans in passing, who second time received the Oscar for the best cameo after the scene in Thor: The Dark World.
On the whole, one can especially regret that the film does not stand out more in its scenography (knowing the style of the director), and may be perceived only as a mixture of teen-movie and superhero – As Ant-Man had been able to try to mix the defensive film with the costumed genre. Spider-Man Homecoming goes a step further: it is a sincere film that loves its characters. A spider-man less lonely than those of Webb and Raimi, and less driven by the search for his ideal love. Without Uncle Ben, and practically without Manhattan, a hero rooted in his neighborhood who returns to the ideal of the “friendly neighborhood guy”, with a vibe of films eighties nourished with the dialogues Bendis, an overall success that is appreciated Until the end credits (really cool).
Homecoming, or: returning home. If it is still too early to know if this one will be definitive, one can in any case say that the film bears its name well. Mixed with Marvel’s codes, the style of Jon Watts and the essential DNA of the Spidey comics (especially Ultimate), he breathes a naivete identity as a good movie for teens, with an immediate affect on his main character. Quite different on this approach of the two previous sagas, the film seems for the generation of Spider-fans of Miles Morales or Marvel productions of the past ten years while trying to renew the genre, a successful essay that feels love of Weaving and inspires confidence for future adventures.