The Marvel Cinematic Universe’s Spider-Man solo is a good recreation while waiting for more ambitious adventures.
On the occasion of the rebroadcast of Spider-Man Homecoming this Monday on TMC, we republish our review of Jon Watts’ film, originally written for its theatrical release in July 2017. Since then, the director has reunited with Tom Holland for Spider-Man: Far From Home, on screens during the summer of 2019, and they will be released this winter Spider-Man: No Way Home.
Tom Holland: “I would like to be Spider-Man for the next twenty years”
Let’s straighten things out, Spider-Man Homecoming is not a reboot of the superhero, since it has already been successfully reintroduced in Captain America: Civil War. Got rid of the task of relaunching Spidey (task that had crushed the flawed but interesting The Amazing Spider-Man by Marc Webb), Homecoming acts as a recreation within the Marvel cinematic universe : neither origin story nor great pivotal moment of the saga. A recreation while waiting for other more serious things (this criticism will inevitably be affected). And a reminder that the MCU superhero is also the MCU reader / writer, the geek fed to Star wars and to the comics which exclaims “cool”, “awesome” Where “badass” as soon as he sees a super villain. Tony Stark, Star-Lord, Spider-Man, Doctor Strange, Ant-Man, they’re all avatars of the supposedly middle-aged white male geek “normal” who sees the world through the filter of pop culture (Spidey in Civil War who brings down Ant-Man using a ploy from The Empire Strikes Back).
Until Black Panther (Chadwick Boseman) and Captain Marvel (Brie Larson) come to shake it all up, Homecoming makes a slight change of scale compared to other superheroes. Peter Parker, 15, is a geek who grew up in MCU World: How does it feel growing up in a world where Captain America shoots educational videos to teach high school kids to play the rules and play sports? In a world where your parents worked to clean up the big fight between the Avengers and the Chitauri? This is where the film is the funniest (stuck high school students get bored just as much when Cap teaches them on video), even the deepest: the villain character played by Michael Keaton is by far the most successful of the MCU, because it fits very well in the continuity of the other films and its actions are perfectly motivated by the consequences ofAvengers. In counterpoint, the energy ball Tom Holland is seen flanked by a sidekick who exclaims “cool”, “awesome” Where “badass” at the slightest superheroic push in the script.
Homecoming does not contain any senseless cinema gestures, as in the seminal trilogy of Sam Raimi: what this moment expresses when our Spidey of 2017 tries to restrain the two halves of a ferry cut in half with the help of his canvas, finds himself crucified and fails his task where the Spidey of Spider-man 2, in a similar posture (the skytrain scene) succeeded with the support of the people of New York. The recurring presence of Iron Man, deus ex machina which intervenes at key moments to correct and direct Spidey reinforces this impression of side film, recreation, side B of the MCU, not unpleasant (even if we are still entitled to the antiphon “if you’re nothing without your costume, it’s because you don’t deserve it”) but not unforgettable either. The equivalent of the Première class, before the Terminale, when you chuckle by passing the French baccalaureate while waiting for the bowling of the following year (Avengers: Infinity War next year, or even Thor: Ragnarok in October). That said, it’s still very hard to say bad things about a film whose soundtrack contains “Blitzkrieg Bop” of the Ramones. “Hey, ho, let’s go!”
Trailer of Spider-Man: Homecoming :
Tom Holland talks about his audition with Robert Downey Jr. for Spider-Man