Captain America: Civil War After the events that occurred in, Peter Parker (Tom Holland) waits desperately that Tony Stark (Robert Downey Jr), the contact to a new mission. In the meantime, he alternates his little life so glorious as a high schooler lonely and that of superheroes, which consists of little more than making stolen bikes, and helping little old ladies to find their way, in his Queens native. But one day, a robbery that makes the short puts him on the trail of a mysterious arms dealer (Michael Keaton), who covets especially the weapons superpuissantes of the Avengers. To make it clear to Tony Stark and his security chief Happy Hogan (Jon Favreau) as he is on a case really important will not be a trivial matter to Spider-Man…
Super-hero who has enjoyed a career in film strange because of the pangs that the complicated relationship between the studio Sony and Marvel have imposed, Spider-Man returns to the cinema with a third face: that of Tom Holland. The effort by Marvel to return to his universe film the character that the brand had created on paper, but which had failed on the screen in the hands of Sony, is here the final outcome, and, by a new reboot, looking to erase the previous Sony had undertaken alone, under the name of The Amazing Spider-Man. Introduced by Marvel studios in Captain America: Civil War, this Spider-Man anchor so this time fully into the world of film Marvel that he took so much trouble to join — though the studios Sony keep the creative control of the movie — for a result that is more than convincing.
Then we would have expected a film hybrid that does not know on which foot to dance, Spider-Man Homecoming is without hesitation the choice of pure comedy, and hard, and runs from the first to the last minute with a consistency that’s admirable. It is in effect on the tone of self-mockery that Jon Watts discusses his history and he fully accepts, far from the Tim Miller hesitant to Deadpool , who force not to choose between the movie of the super-hero classic and parody, not succeeded neither in the one nor in the other. Here, there’s no ambiguity and Watts takes a perverse pleasure to break all the dramatic effects that it offers us a particularly jubilant, both for dialogues sharpened by a comical situation perfectly managed
(Spider-Man not being able to master the different aspects of his suit developed by Iron Man, the turnaround on the true identity of the Vulture, aka Michael Keaton, perfectly introduced and operated in a way that’s hilarious).
Assumed, the humour is therefore fly almost at all times, without a doubt, this Spider-Man : Homecoming is one of the film’s funniest of the MCU, not to mention the most fun.
But if the humour is undoubtedly the main attraction of this film, it is with pleasure not less than one sees that Jon Watts manages to remain almost always the extent, remaining a human scale throughout the film, focusing on the struggle between his two antagonists instead of we show plans filled with CGI, up to the jaws designed to show us the most outbreaks possible in the time frame the more reduced is. Here, the point of this game, especially considering that the scenario, smarter than it seems, has had a good idea to
deprive Spider-Man of his costume and high-tech in the final battle with the Vulture, which forces the superhero to have recourse other than its own powers.
If the staging is sometimes confused, especially in the action scenes, the final, and still impersonal, however, it is a dynamism that, finally, is the image of this film ultra-fast-paced, whose motto could be: entertainment first and foremost. And at this level, it must be said that the film Jon Watts performs its task with true talent, helped by a casting spotless (Tom Holland and Michael Keaton are both great), which introduced it in his film alchemy incredibly successful between the different characters, as well as a superb original soundtrack composed by Michael Giacchino.
Of course, if you wanted to be a little nit-picky, there would be several things wrong with this Spider-Man: Homecoming, including characters often enough clichés (the sidekick obese, the student self-obsessed that keeps not making fun of the hero, a poor student, shy and in love with a girl he considers too beautiful for him, etc…), an action rarely very original (but that gives the film a classic more than significant) and a few facilities scriptwriting (Spider-Man raises the stacks of concrete in which it is crushed).
But it’s fun too in front of a superhero movie that manages not only to be fun and uninhibited but most importantly — and this is perhaps the most prodigious — that manages to be, for him to take it really rigour!