Rebooting a series with a reworked cast can cause problems, especially when it’s the third time. Most movie lovers try to forget when George Clooney pulled on the black cowl of Batman (and the infamous nipple breastplate) after Michael Keaton and Val Kilmer hung up their capes. Batman and Robin was not a high point in the history of cinema, or in Clooney’s career, either. Thankfully he did Out of Sight the next year and never looked back. With the Spider-man franchise, Tobey Maguire was good in the first two films and then completely self-immolated in the third, while Andrew Garfield was okay in the first but couldn’t save the mess of a sequel. Sony Pictures had changed the name to the Amazing Spider-man, but neither of those films lived up to that promise. I might have skipped Spider-man: Homecoming if not for the introduction of the reboot in Captain America: Civil War. Tom Holland was delightful in the role, and having Marisa Tomei as a non-geriatric Aunt May was a bold and welcome change. (Imagine Robert Downey Jr. hitting on Rosemary Harris. Have you clawed your eyes out yet?)
Marvel sold the rights to the character to Sony, as they had the X-Men to Fox. In the short term, it was a financial help to the company as it transitioned from print comic books into the media powerhouse it’s become. But it meant they couldn’t control a product that they knew intimately. Now Sony (under its Columbia brand) has wisely returned the webslinger to Marvel in a co-production deal, and it has paid off handsomely with a $100 Million plus opening weekend, an 8.1 out of 10 rating on IMDb (the best of any film in the series), and a rejuvenated character that outshines all five previous movies.
Homecoming is literally true. Tobey Maguire and Andrew Garfield spent their time swinging around Manhattan, since it has all those lovely skyscrapers. Spider-man: Homecoming returns the character to Queens, Peter Parker’s home in the comics. He’s back to being your friendly, neighborhood Spider-man. The “bit by a radio-active (or genetically modified) spider” backstory is dispensed with in a couple of sentences. The production team also put him in a realistic high school, populated with characters that look like they belong there. With Tom Holland you have an actor who is only a couple of years separated from those High School days himself, much closer than either Maguire or Garfield were when they did the role. Finally, the film takes a classic Spider-man villain – The Vulture – and generates a compelling backstory for him.
The story begins in the rubble left by the Avengers fight against the alien invasion of Manhattan. A salvage company run by Adrian Toomes (Michael Keaton) wins a contract to collect the alien technology that litters the scene following the battle. However, they’re soon shut down by the government after they decide to do the collection themselves in partnership with Tony Stark (Robert Downey, Jr.). Toomes decides to keep the tech they’ve already recovered and, with the help of the Tinkerer (Michael Chernus), turn it into black-market weapons. One thing created is a set of self-propelled set of wings that allows Toomes to fly, turning him into the Vulture.
Fast-forward to 2016 and the events of Captain America: Civil War. We see Peter Parker (Holland) recruited by Stark and Happy Hogan (Jon Favreau) and transported to Germany for the airport battle, but our viewpoint is Peter’s video diary filmed on his phone. Following the battle, Peter returns home ready to do great things, but he’s ignored by Stark and Happy. He does his own small-scale heroics – and posts videos on the internet – but mostly he’s stuck in High School purgatory. He’s obsessed with the beautiful senior Liz (Lauren Harrier); he’s tormented by Flash (Tony Revolori), a nerd like Peter but one whose father’s bank account is large enough to make him cool; and he hangs with his best friend Ned (Jacob Batalon) while the sardonic Michelle (Zendaya) watches unimpressed. Things change when Peter runs across a robbery team (wearing Avengers masks) using the alien tech provided by Toomes. When Happy ignores Peter’s request for help, Peter decides to track down who’s providing the tech on his own.
Normally the more writers on a project, the worse it turns out, since they have a tendency to muddle the focus. Three writing teams contributed to the screenplay, though the primary team that also has story credit is Jonathan Goldstein and John Francis Daley. Their milieu has been comedy, with the Horrible Bosses movies being their biggest hits, and they bring a cockeyed viewpoint to the story that serves it well. Daley is mostly been known as an actor, starting with “Freaks and Geeks” and spending almost a decade on “Bones” as psychiatrist Lance Sweets, but with more scripts like this that will change. One delightful bit is having the school use corny PSAs recorded by Captain America in the gym class and detention. “I know that technically he’s classified as a terrorist now,” the bored gym teacher says, “but the administration says show these, so I’ll show them.” Beyond the humor, though, the screenwriters know you need a powerful villain, and the action needs to keep flowing. They deliver on both.
Director Jon Watts also has a resumé heavy on comedy, including directing the Onion News Network. But then as his first feature film he made Cop Car, a mean little thriller starring Kevin Bacon. The set pieces on the Staten Island Ferry and at the Washington Monument are thrilling, but they’re also woven into the whole fabric of the film.
It’s a particular delight to watch Keaton. Ever since Night Shift, he’s been inventive and interesting on screen, even in lesser roles. After a long season out of the spotlight, he’s now come roaring back. With Vulture, he matches the effectiveness of Jack Nicholson’s Joker without the over-the-top schtick.
Homecoming’s almost two-and-a-quarter-hour running time flies by. This is a movie you could easily watch several times and be entertained at every viewing. The first time, though, make sure you stay until for the final tag after the credits. It is arguably the funniest one ever for a Marvel movie.