Spider-Man: Homecoming (2017)
Following the events of
Captain America: Civil War (2016), Peter Parker attempts to balance his life in high school with his career as the web-slinging superhero Spider-Man.
Stars:
Release Date:
7 July 2017 (Philippines)
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Also Known As:
Spider-Man: De regreso a casa
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Filming Locations:
Budget:
$175.000.000
(estimated)
Thrilled by his experience with the Avengers, Peter returns home, where
he lives with his Aunt May, under the watchful eye of his new mentor
Tony Stark, Peter tries to fall back into his normal daily routine -
distracted by thoughts of proving himself to be more than just your
freindly neighborhood Spider-Man - but when the Vulture emerges as a new
villain, everything that Peter holds most important will be threatened.
Tom Holland plays the beloved webslinger in his first full adventure in Marvel's Cinematic Universe.
As any observer of the corporate side of superhero cinema can tell you, the title of Jon Watts' Spider-Man: Homecoming
doesn't only refer to its hero's status as a 15-year-old dealing with
all the usual high-school concerns.
It also celebrates an
intellectual-property marriage, in which Spidey, the greatest creation
of the ink-and-paper Marvel Comics empire, finally enters Marvel's
big-screen "Cinematic Universe," hitherto dominated by Avengers like
Captain America and Thor.
Previous Spider-Man movies (for you non-geeks out there) were
Columbia Pictures offerings with no Marvel Studios overlap, much as the
X-Men franchise is controlled by 20th Century Fox. And if Homecoming
is any clue, one can assume that any Marvel Studios exec getting access
to those famous mutants would immediately start wondering if Wolverine
would be fiercer with a little Hulk blood in him, or if Professor X
might enjoy getting out of that wheelchair with the help of one of Tony
Stark's surplus exoskeletons.
That's the kind of overeager cluelessness displayed in this
occasionally exciting but often frustrating film, which seems to think
the iconic character created by Stan Lee and Steve Ditko will appeal
more to tech-addicted teens if only his costume has as many gizmos baked
into it as Iron Man's.
Though it doesn't approach the abominations of recent DC movies, which (with the happy exception of Wonder Woman, but certainly including the cringeworthy Justice League
trailer) seem intent on making those initials stand not for "Detective
Comics" but "Douchebag Corrosiveness," it represents a creative misstep
for the studio — albeit one likely to ride fanboy enthusiasm to much
better receipts than those enjoyed by Amazing Spider-Man, the recent incarnation starring Andrew Garfield.
Where Garfield's Peter Parker displayed a believable 21st-century
angst, we return largely to the character's wide-eyed roots with Tom
Holland, whose performance is thoroughly winning even when the script
isn't helping him. (With no fewer than six writers credited on the
screenplay, could we not have had more of the wisecracks for which the
teen crimefighter is famous?) Holland's Peter enters the film with
superpowers intact (get your origin-story kicks elsewhere, kids),
shooting an "I can't believe this is happening" video diary of the
events we saw in Captain America: Civil War.
After strutting his stuff in that battle, Peter rightly expects to be
joining the Avengers. Instead, he's given something like the brush-off
by Robert Downey Jr.'s Stark: The industrialist gives him a
multimillion-dollar outfit full of electronics, makes his flunky Happy
Hogan (Jon Favreau) Peter's "point guy," and essentially says, "Don't
call us, we'll call you." So Parker watches the clock impatiently every
day at school, waiting for the final bell so he can go fight petty
crime, checking in with Hogan in hopes that he'll get Stark's attention.
Of the things the movie gets right about Peter's quotidian academic
life — his swooning over the pretty upperclassman Liz (Laura Harrier);
the mockery he gets from Flash (Tony Revolori); the withering commentary
of scene-stealer Michelle (Disney Channel veteran Zendaya) — one false
note is how careless he is with his secrets. In chemistry class, Peter
tinkers with formulations of his web fluid, conveniently labeled as
such; after he blows his cover with best friend Ned (the likably
excitable Jacob Batalon), he dissects alien technology with him right in
the middle of shop class.
That alien tech was left behind by a crew of baddies led by Michael
Keaton, who was just a hard-working salvage contractor back when the
Avengers first wreaked havoc on Manhattan some years ago. Keaton's
Adrian Toomes realized that the Battle of New York left behind enough
super-powered debris to make him rich; now, he's an arms merchant who
flies around in a cool-looking rig with big metal wings. Comics fans
will know to call him The Vulture, but given who's playing the villain,
the rest of us will inevitably call him Birdman.
Spider-Man crosses paths with the Vulture's crew just as he's
understanding the potential of the suit Stark gave him. Turns out that
Stark has enabled a "training wheels protocol," setting most of its more
powerful features off-limits until Peter is more experienced. But no
mere genius-billionaire-inventor-superhero could be expected to craft
tech impervious to a high-school sophomore. Within minutes of
discovering this protocol, Peter and Ned have unlocked it.
This commences the movie's most muddled action, in which Spider-Man
is technologically granted heat-vision, super-hearing, assorted drones
and tracking devices, and, of all things, a parachute. At their best,
these augmentations refer cleverly to the hero's pulpy past (as with
some little webbed wings) or provide nonsensical visual fun (finally, a
technological explanation for the masked hero's expressive eyes). But
they're usually at their worst, with Spidey interacting incessantly with
the same kind of artificial-intelligence assistant Iron Man has in his suit.
Peter initially calls the female voice "Suit Lady," and she ruins
things in a variety of ways. Not only does she introduce this character
to the kind of baloney normally reserved for spy or sci-fi movies — as
when she somehow calculates exactly how long an elevator's damaged cable
will hold before sending Peter's friends to their doom — but she
introduces a multiple-choice element that distracts from the usual
webslinging fun. This Stark-designed suit, it turns out, can sling
spiderwebs in ways Parker has not yet imagined, and poor Peter is likely
to be bickering with Suit Lady about the available options when he
should be thrilling us with his agility.
While much of the film's midsection sinks under these developments,
the pic enjoys a sustained success in the sequence for which it is
named. Peter manages to score a date to Homecoming just as his
crimefighting alter-ego is at a low ebb. He seems, finally, to be about
to engage in real life instead of rock'em-sock'em dreams. But comic
books don't work that way, and a back-to-basics Spider-Man winds up in
an unlikely but thrilling battle on the outside of a jet plane high
above Brooklyn.
Satisfying from its day-of-the-dance prelude (where Marisa Tomei's
Aunt May shines) all the way to its fiery, cathartic conclusion, this
sequence hints at the film Homecoming might have been — had
Marvel Studios execs and a half-dozen screenwriters not worked so hard
to integrate Peter Parker into their money-minting world. But integrate
they do, and the film wraps up with an ending recalling the incoherent,
have-it-both-ways finale of Iron Man 3 — attempting to embrace
the "friendly neighborhood Spider-Man" ethos while exploiting the
rich-dude glitz afforded by Spidey's new buddies. Hang in there, True
Believers: Maybe it'll get better the second time around.
Technical summary:
Production companies: Marvel Studios, Pascal Pictures
Distributor: Columbia Pictures
Cast: Tom Holland, Michael Keaton, Marisa Tomei, Robert Downey Jr., Jon
Favreau, Jacob Batalon, Laura Harrier, Zendaya, Tony Revolori, Martin
Starr, Hannibal Buress, Donald Glover, Tyne Daly
Director: Jon Watts
Screenwriters: Jonathan Goldstein, John Francis Daley, Jon Watts, Christopher Ford, Chris McKenna, Erik Sommers
Producers: Kevin Feige, Amy Pascal
Executive producers: Louis D'Esposito, Victoria Alonso, Patricia Whitcher, Jeremy Latcham, Avi Arad, Matt Tolmach, Stan Lee
Director of photography: Salvatore Totino
Production designer: Oliver Scholl
Costume designer: Louise Frogley
Music: Michael Giacchino
Editors: Dan Lebental, Debbie Berman
Casting: Sarah Finn
Rated PG-13, 133 minutes
7/10 for the genre
5/10 overall
Thanks for reading this first review of July, the movie itself will be in cinemas from July 7 on, have fun watching movies.
