Recommendation of Yes
Synopsis: The surrogate son of a perennial billionaire industrialist fuck up goes to to to with a blue collar family man that his surrogate father’s overreaching amends making put out of business, serving only to break things, endanger lives and destroy a mostly innocent family.
Yep, Peter Parker is kind of a screw up. He constantly flubs the landing, destroys property, is responsible not once, not twice, but at least three times for endangering the lives of innocents through recklessness, and answers back to his surrogate dad about how he doesn’t understand and won’t treat him like an adult. You know, typical 15 year old boy stuff.
Okay, I was being glib, but if I am being honest, this one movie does a far better job of depicting what happens when an irresponsible person tries to do good outside of due process than all three Iron Man films and Age of Ultron combined. Peter does tend to screw up spectacularly. You know, when you stop to think about it, the MCU can go to kind of dark places without the need to wallow in dour self-seriousness like the worst of the DCEU… But I guess on the other hand, their reliance on safe formula and quip-heavy flippancy does kind of get in the way of all of that hinted at darkness. Either that or they feel like dull homework assignments for the bigger films.
So then colour me delighted when Homecoming’s biggest strengths are that it plays with formula so drastically, while managing to be relatively self contained and tiny feeling. Right down to the absence of glowing CGI doom in the climax.
If you did didn’t remember his introduction, Spider-Man: Homecoming kicks off Peter Parker’s story with a mobile phone recording of the airport fight from Captain America: Civil War. And if I were being unfair, I would say that Homecoming wins points for reminding me of a better movie. But if I am being honest, I’d have to say that Homecoming does some key things much better than Civil War (i.e. probably having the first genuinely well considered villain in the MCU). And that’s about as much introduction as you’re going to get to Peter Parker. There is no origin story, the spider is long since dead and is dispensed with in a single short exchange, and we don’t have to sit through yet another Uncle Ben (though at one point Tony Stark comes dangerously close to paraphrasing him).
This movie’s narrative arc for Peter is that of a super hero sequel where an already accepted hero has his wits and abilities tested, shortcomings highlighted, and has to rise to the occasion. And in fact, the film’s origin story arc is given to its villain, Michael Keaton as some kind of birdman (The Vulture to be precise). He is introduced in an inciting incident as an average blue collar worker trying to look out for his family and employees, but who is put in a horrible financial situation due to Tony Stark colluding with the US government to take over all clean up duties post Avengers. As a result of him being given the narrative arc usually reserved to a first time super hero, he’s developed into one of the most layered and sympathetic villains in all MCU; a family man at odds with big business and trying to provide for his family and his employees. The Vulture is nothing more than the avatar of a man trying desperately to provide for those who depend on him by any means necessary. Enough screen time is spent with him outside of the suit that he is fleshed out as a human being. And one of these sequences is a claustrophobic and steadily simmering sequence in a car that allows Keaton to do some capital A acting.
And then you see his house with “so many windows”. I can’t particularly fault Spider-Man: Homecoming for introducing politically charged subtext and then fluffing it with what it actually shows off as the characters’ on screen truths, given that Civil War was probably a bigger offender (and the less we talk about the muddled politics of Batman v Superman, the better). But there was more character truth behind the anti big business/big government posturing of Keaton’s Vulture and his gang of merry arms dealers than in the pro vs anti registration kerfuffle of Civil War, until a third act twist puts a damper on it in favour of pulling the rug out from under Peter Parker. Given this is Spider-Man: Homecoming, and not a treatise on capitalism driving men to do morally questionable things, it’s probably for the best. That doesn’t stop the film from being reasonably pointed, and one could argue, posturing at superficial profundity about it in the early goings given it ultimately ends up going no where.
All that said, Homecoming really sings in the small moments. Bits of acerbic comedy are mined from its teenage supporting cast, poking and prodding at Peter in various ways, be it jovial and jocular, or antagonistic. A wonderful, if small contribution by Hannibal Buress as a put upon gym coach, brief asides about a teacher previously having a student die on him on a field trip, and the aforementioned bits with Keaton and co., make up for the otherwise mostly flat action. With the exception of the Stanton Island Ferry sequence shown off in the trailers, there is nothing particularly exceptional, and even then Sam Raimi’s Spider-Man 2’s train sequence far exceeds it in scope and emotional impact. But it’s really the playfulness and small scale that makes Spider-Man: Homecoming feel fresh, even if in the grand scheme of things, the MCU has offered us better (see Guardians of the Galaxy, all three Captain America films, for example). The willingness to go small, even with its Captain America “cameos” and its stinger are a shot in the arm for what could otherwise have been simply adequate. Ant-Man was adequate, Spider-Man: Homecoming is in some way approaching charming. And honestly, for what is the third rendition of this franchise on the silver screen in recent memory, that is a mighty fine victory.