Review of Spider-Man: Homecoming directed by Jon Watts

Before talking about ‘Spider-Man: Homecoming’ we have to go back to 2002 to remember the first film adaptation of Spider-Man on the big screen. The movie of sam raimi laid the foundations for a genre in full resurgence (Blade, X-Men) and was the definitive step towards embracing the superhero movies as an independent genre of great profitability and great potential.

15 years later we have experienced two reinventions of the character. The Amazing Spiderman 1-2 were the result of the problems suffered in the pre-production of Spiderman 4 (which never came to fruition) and the mediocre reception of Spiderman 3, which otherwise became a huge box office success. However, both movies Mark Webb they were coldly received, since not only did he copy elements from Raimi’s films, but the new plots he had introduced in his particular universe were a mere excuse to consolidate an MCU-style cinematographic universe.

‘The Amazing Spiderman 2’ had a mediocre reception from the public and critics, and the 708 million worldwide it accumulated was far from the studio’s expectations. Sony was desperate, and they couldn’t let their stronghold die on the shore. Then one of the most surprising agreements of the last decade takes place: Sony Shares Spider-Man Rights With Marvel, which introduces the character in his universe. The first appearance of Peter Parker / Spiderman occurred in ‘Captain America: Civil War’, and the general opinion could not be more promising. Numerous compliments to the character and himself Tom Hollandand a light of hope at the end of the tunnel shone brighter than ever.

This weekend has been released Spider-Man: Homecoming in Spain, and the general expectations were very high. Has it been a worthy and successful reinvention? From my point of view yes, but with nuances.

A new way

One of the most striking aspects in ‘Spider-Man: Homecoming’ is Peter’s return to high school and the youth of the characters that populate the film. Unlike the Raimi and Webb films, Peter is a 15-year-old boy who looks and behaves that age. He is a teenager with conflicts that fit with his life stage and this approach brings freshness to the movie.

Peter is moved by his desire to impress Tony Stark, to prove his worth as a hero but also by more earthly aspects such as friendship, love and the search for his own identity. He tries to balance (heh) between two very different lives that are difficult to complement, since his immaturity prevents him from embracing his nature with the responsibility that it requires. In this sense, I think the film travels along the right paths and emphasizes Peter’s mistakes to make him more human and closer, but also to highlight his triumphs.

The story never has a large scale, since it concentrates its efforts on giving us a superhero in direct relation to the victims he helps. Spiderman swings through the streets of Queens whenever possible, but he also runs and jumps through places that prevent him from using his cobweb cartridges. They are not epic except for a few exceptions and the general feeling is that we are facing a superhero in full training. His small victories motivate him but his mistakes suppose a dose of reality that weighs like a slab. Without a doubt, his double life and the succession of errors and successes are two of the greatest virtues of the film.

On the other hand, his return to high school provides plenty of new material to play with, from the fragmentation of school and heroic responsibilities to the homecoming dance, through extracurricular activities and social life (or lack thereof). Kevin Feig He said in an interview that his goal was to give us a Spiderman film that had an eighties soul and was close to John Hughes’s cinema (‘El Club de los Cinco’), and I think that at a certain level he succeeds.

However, the film abuses tools that are excessive by sheer accumulation. Peter’s friend Ned is the typical ‘sidekick’ who follows his friend everywhere and supports/helps him at all times. But he’s also the comic relief, and at times it becomes hard to watch his constant energy, how redundant it is to see how he reacts the same way to many events. The same goes for other young people. They have a specific objective, and they do nothing but repeat their attitude constantly. Flash needs to be a loudmouth asshole, Michelle needs to be sarcastic, Liz needs to be adorable and beautiful, and so on. There is no variety of behaviors, richness in their way of beingand it’s a real shame.

Characters and personality

Tom Holland in “Spider-Man: Homecoming.” Source: Sony Pictures

Spider-Man: Homecoming has a wide cast of characters, but most are far from possessing personality. Except for Peter Parker and, to a lesser extent, the Vulture (a great Michael Keaton) no character in the film has a dramatic arc, clear motivations, a defined conflict. Happy Hogan (Jon Favreau) is the comic relief that connects Spider-Man to the MCU, I’ve already talked about Peter’s high school classmates, and the henchmen accompanying the Vulture are mere archetypes. And I admit something to you: despite the fact that he doesn’t appear as much as I expected, the presence of Tony Stark eats up half the movie and every option for individuality in the MCU.

Every time Tony Stark appears, Peter is left in the background and the focus is distorted, taking away from the construction of the main character. I understand that Tony is a father figure as well as a mentor to Peter and that he should guide him on the right path, but there are 2-3 short scenes that really don’t add anything special, that serve as a mere link between Spiderman and the universe when who just joined. I would have preferred less Stark involvement and more reflection on Peter’s own part. There’s a beautiful scene between Peter and Aunt May (Marisa Tomei) where for a moment you forget that we’re in a Marvel movie, and you enter a teen drama with a heart. I like that movie better than the mix it ends up being.

However, the crucial element of the film, the aspect that lifts it in every shot and fills it with vitality, is the interpretation of Tom Holland. Absolutely committed to the role, Holland makes you forget that he is an actor, and you only see the character. He provides emotional strength in the intimate and more dramatic sequences, his physical virtues allow him to participate in action scenes and shine in them, and he also has excellent comic timing. Holland is the Peter Parker/Spiderman we’ve been waiting 15 years for, and while Raimi’s first two movies are wonderful and far superior to home coming, this film contains the best Peter/Spidey to date. His performance of both roles alone is worth the price of admission and I look forward to seeing him in future installments.

I would like to close this section by talking about the lack of personality that this film has on a technical level. While Spiderman looks great overall and there are inspired scenes, I think jon watts It has been a tool at the service of Feige and has not been able to provide enough material to notice a minimum personality of its own. He looks comfortable in the high school sequences and in the tighter dialogue, but the film becomes very conventional and uninspired by the big action and combat scenes. The ship sequence is not bad at all, but the final confrontation and some other brief hand-to-hand combat are not clear, its geography is confusing and they return to throw at night to hide deficiencies. There is not an action scene in the film that transcends. There’s no citizen-style bailout Spiderman (2002), there is no train scene (Spiderman 2), there is no combat in the air at the level of Spiderman 3 (which is a terrible film but in terms of action it was remarkable). In short, the film lacks personality in its most (in) tense moments.

Also, I think the soundtrack by Michael Giacchino is forgettable and cut by an archetypal blockbuster pattern. In War for the Planet of the Apes, Giacchino showed an overwhelming personality and gave us one of his best compositions. In home coming I haven’t seen or seen him anywhere. And the film’s photography stands out when it shows sunrises and sunsets, when there is a lot of light in that scene, but it is very weak in almost all the night scenes. There are times when it is difficult to distinguish figures and know where a certain character is. I hope and wish that Marvel changes the director of photography and the director for the sequel and we can have a film with more personality and strength behind the camera.

Definitely, Spider-Man: Homecoming is a worthy wall-crawler movie, a refreshing review of the character and a remarkable film when it ignores distractions in the form of characters and subplots and focuses on its main character and his double life. There are 2-3 really brilliant scenes, but the clichés and lack of inspiration in the final act leave a bittersweet taste. It’s a huge improvement over the Marc Webb movies, but it’s nowhere near Raimi’s first two movies. Which is clearly unfair, since Spiderman 2 It is one of the best superhero movies ever. The room for improvement is wide, but the most important thing has already been achieved. Now it’s time to polish mistakes and refine style.

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Review of Spider-Man: Homecoming directed by Jon Watts

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