Welcome home Spidey

Rating: 6/10 (23 August 2017)

In fifteen years, Sam Raimi and Marc Webb have been the only ones favored in adapting the comics of the amazing Spider-Man to live- action movies, one with more notoriety than the other, but, after all, both managed to be entertaining proposals with their dissimilar varieties. Anyhow, the successes didn't last long, causing the retention of Sony's projects to keep on making popcorn movies. Such time of rehab had an expiration date, exactly, until 2015, the year in which the film studio announced, with presumption, the deal with Stan Lee's production studio for bringing back the carefree hero from Queens, something that amazed both fans and Marvel Studios logical chronology as to the introduction of new characters, who will soon be present in the magnanimous American epopee par excellence, at least we hope that. The first step, Holland signing up, then Watts, later an extravagant number of screenwriters, Keaton as an antagonist, Michael Giacchino usual adding and the predisposed tools by the studio allowed the coming of the first great adventure of Spidey after his extremely short glance in the film of Russo brothers, "Civil War". And we're in luck, since its director takes the overblown mold of summer film away, in order to manufacture a coming-of-age movie portraying the day by day of one of the most well-liked and beloved superheroes of the MCU in a fascinating way.
The script doesn't endure the consequences of the American trend focused on saturating plot construction of screenwriters, here, idea assortment works wonderfully, endowing this origin story with a brand-new, flippant, jovial and even original air; a "Deadpool" for teens. The base argument benefits by omitting info that should already be general culture for any connoisseur of the character— Uncle Ben's death and the transmutation from human to hero thanks to the spider venom, besides the succession of situations as funny as suggestive that will keep you on the edge of your seat, either by struggles or chases, jokes or dramas or, specifically, certain twists that lead to an enthusiastic and novice thriller atmosphere of thriller throughout the third act. The artistic performance of the sequences is on target, not as mega-maniac and grandiloquent as previous studio movies, however, "Homecoming" doesn't appeal to big things, it's a unique and necessary film among so much formality, politics, and honor driven by Captain America and Tony Stark. As for that last man, his appearances, neither eclipse nor shade the main star, without discrediting the importance of his role, he's vital because he's a paternal figure for Parker, teaching him the true meaning of hero, which not only lies in being privileged with extra human powers.
For the most avid and purist comic-lovers, the change of appearances, both physical and cultural, of some characters could be fateful, a modernization used in order to tie in with the strong egalitarian movement that becomes meaningful in the film world. Zendaya, Laura Harrier or Jacob Batalon provide the best of their characters, even so, they're not a copy of the original characters, With what they will be blessed, both fanatics and spectators, is fidelity to the circumstances of books, each scene is loaded with references and easter-eggs from Marvel's movies and comics, sublime and drama ones as the catharsis final when Peter is trapped under the rubble. These moments accompanied by vigorous and authentic treatment of the main character. Tom Holland invigorates him with skill, intellect and physical and acting presence, performing the role of a fifteen-year-old boy suffering the vicissitudes of puberty and heroism at the same time.
Marvel has been quite criticized for the lack fundamentals and power of antagonists—except Loki from "Thor" and (let's hope) Thanos from "IW"—, a pattern that has been repeated in every film. However, by signing an Oscar winner ("Birdman"), illusions re-emerged and, indeed, they were not in vain. When a movie opens by putting in front the villain and not the hero, denotes the commitment of the studio conceiving Keaton's role, creating the most human and realistic villain of its universe, of course along with his stunning performance. Although his first sightings don't enjoy a strong impact, from the middle of the second act, the actor breaks down the screen, in detail, in the final twist.
Visually, "Homecoming" has highlighted points in scenes where tension components prevail, such as that sonorous attenuation when he enters in the prom, the inconvenience in the Washington monument or the boat's breakdown. Accepting indie roots of the director, serene nuance would be obvious, so it's not possible to expect artistic displays at the heights of "Doctor Strange" or "Guardians of the Galaxy", even the visual dullness of the previous installments by Sony. Likewise, we witness that Giacchino's score doesn't stand out at all, of course, leaving aside the classic and glorious Spider Man theme song in the opening, glorifying the logo of the studio. It's noticeable the most measured pace in action sequences with respect to its competitors, however, CGI cessation, protagonist's gymnastic talent, and grateful set pieces are what makes the movie so special.
Watts rejoins our beloved Spidey into the cinematic panorama, with the help of a motion picture that enjoys the delights of independent and commercial movie simultaneously, delivering magnetic entertainment, placing Marvel's film far above that fabulous film by Sam Raimi and Alfred Molina. Carefree, hilarious and intriguing, Holland's Spider- Man takes very seriously what he is doing, delivering one of the most loyal films to comics, still being spectacular and fun. Sony already has a vast idea catalog for the Spider - Man universe, hopefully, it won't happen again with their plans what occurred a few years ago. Blessed Marvel!