Spider-Man: Homecoming (2017) - 7/10
It’s crazy to think it’s already been a decade since a relative no-name British actor was cast as the next Spider-Man. It was massive news at the time because MCU fans had been clamoring to see the beloved web-crawler on screen alongside the Avengers rather than on his own. Holland made his debut as a supporting member in Captain America: Civil War, and a year later earned his own solo release. This was a big moment for Kevin Feige and the MCU, who had been negotiating with Sony Pictures for shared rights to Spider-Man for quite some time. But without diving too much into the boring details, let’s jump into the rubric and see how this Spider-Man holds up on his own.
1. Acting
There’s little point in not talking about the titular hero right off the bat. Tom Holland is the third actor to take on Peter Parker for the big screen, arriving only a few years after Andrew Garfield’s portrayal. Point being, he had an uphill battle to conquer but also a hopeful fan base eager for him to succeed. Luckily, Holland is, in my opinion, the best all-around Spider-Man yet. His youthful exuberance is a perfect match for a 15-year-old Peter, his physicality and dance background let him embody many of Spider-Man’s traits, and his sharp wit and comedic timing make the quippy, smart-aleck hero come alive. A strong script (which we’ll get into later) gives him deeper introspection, too. More than anything, Holland is simply an easy actor to like, and he imbues Peter with vulnerability, humor, and a fitting brashness. It’s one of the MCU’s best casting decisions since giving Iron Man to RDJ.
Outside of Holland, the supporting cast is a huge reason this film is so easy to love. Jacob Batalon is excellent as Ned, Peter’s best friend, and he and Holland share great chemistry that grounds the story. Marisa Tomei returns as Aunt May, and though she doesn’t get much screen time, she serves well as a mentor and confidant for Peter. Zendaya, though sidelined for much of the film, makes the most of every moment as MJ and often steals her scenes. MCU alums Jon Favreau and RDJ don’t just integrate the film into the larger universe — they bring both comedy and gravitas, RDJ especially.
Michael Keaton’s casting as Adrian Toomes/Vulture is another major strength. Keaton is an incredibly accomplished actor, and his presence elevates the film. He isn’t stretching his range here, but the grounded, less-is-more approach makes Toomes incredibly compelling and far more intimidating. Spider-Man has a great rogue’s gallery, but previous films have suffered when villains went too big and veered into cartoonish territory (looking at you, Giamatti). Keaton avoids that completely.
2. Cinematography
As far as MCU films go, this one is fairly standard — meaning it looks great but isn’t particularly artistic or stylistically unique. That’s not a criticism so much as a recognition of its blockbuster sensibilities. Still, there are some standout shots: the ferry sequence where Peter holds the ship together (evoking Tobey Maguire’s train moment), the colorful chaos of the crashing airplane in the finale, and the claustrophobic, emotional scene where Peter is trapped under rubble.
3. Production/Costume Design
With a reported $175 million budget, the production quality is appropriately high. Still, I find that the movie looks best when the sets are real. Because this is as much a John Hughes-style high school story as a superhero film, the on-location school scenes feel the most grounded. In contrast, the CGI-heavy action sequences require more suspension of disbelief.
The Spider-Man suit is a mixed bag for me. The design is strong, but sometimes the CGI is a bit too noticeable — the digi-doubles and digital suit replacements don’t always blend seamlessly.
4. Writing
This script is surprisingly layered. It has the usual Marvel flair, but also a lot of smart choices and character-driven moments.
It opens with a flashback establishing the villain, his motivations, and his place in the MCU — an efficient scene that gives Toomes a grounded, relatable perspective of a working man getting pushed aside. His motivations stand in sharp contrast to the over-the-top, power-hungry caricatures common in superhero films.
The movie also smartly avoids retreading Spider-Man’s origin story. No flashbacks, no detailed Uncle Ben rehash — it respects the audience’s familiarity. One of my favorite writing choices is Peter’s brashness. When we meet him, he’s a 15-year-old with extraordinary power and an eagerness to prove himself, but very little forethought. Instead of receiving Uncle Ben’s usual lesson, he’s learning responsibility the hard way, stumbling and making things worse despite good intentions. This all culminates in the fantastic scene with Tony telling him he’s not ready.
I also love how much the film leans into Peter actually being in high school. There are references to classic teen movies (especially John Hughes), and the film takes time to focus on Peter’s crush, his bully, his Legos, and his immature decisions. This relatability is why Spider-Man has endured for decades. By dwelling on his humanity, the film makes his superhuman moments more resonant — which is why the rubble scene, where we see a scared kid calling out for help, remains such an emotional highlight.
One last writing highlight: the twist reveal that Toomes is Liz’s dad. It’s one of the film’s best scenes — not because of action, but because of the tension, the acting, and the verbal sparring. The collective gasp during my opening-weekend screening was unforgettable.
5. Sound Design
The film has a great soundtrack, mixing licensed tracks with Michael Giacchino’s score. Giacchino cleverly weaves in the classic 1960s Spider-Man theme, updated with a modern orchestral punch. Paired with tracks from The Ramones, Spoon, The Beat, and The Rolling Stones, the film takes on a fun identity that echoes the high school movies that inspired it.
The sound effects are equally strong, especially the mechanical menace of the Vulture and Peter’s playful interactions with Karen the suit lady.
6. Editing
With a runtime just over two hours, the film maintains a strong pace without overstaying its welcome. I also appreciate that it slows down when needed. Too often, blockbusters escalate nonstop into exhausting finales; instead, this film takes a breath after the ferry incident and Tony’s admonishment, allowing Peter to sit with failure.
The editing has a playful streak as well. Early on, Peter sneaks into his room, only for a quick cut to reveal Ned sitting there — a great comedic beat. Similar “shock” reveals happen throughout the film, such as Tony unexpectedly emerging from the Iron Man suit or the abrupt reveal of Toomes opening the door as Liz’s father. The Damage Control vault montage is another favorite — it sets up the expectation of a long passage of time, only to reveal that just 37 minutes have passed.
7. Visual Effects
Marvel’s heavy use of CGI has been criticized in recent years, but the work here is largely top-tier. ILM led the charge, with additional contributions from Trixter and Imageworks. Vulture, in particular, is a standout achievement in both design and execution.
My only real critique is the occasional glossy, overly digital look of Spider-Man’s suit in certain shots.
8. Originality or Strength of Adaptation
While not an original story nor a direct adaptation of any one Spider-Man arc, the film is a smart, satisfying installment that appeals to comic fans, MCU fans, and casual viewers alike.
9. Stunt Coordination
The film features a variety of engaging action scenes that take advantage of Spider-Man’s unique abilities. Interestingly, some of the best choreography isn’t Spider-Man vs. Vulture, but smaller moments like Peter fighting the ATM robbers.
Tom Holland’s background in dance and gymnastics gives the filmmakers far more flexibility. He performs a substantial portion of his own stunts, which adds authenticity to the character. A lot of real stunt work was also captured in-camera, including scaling the Washington Monument and various harness sequences with Holland suspended or swinging through scenes.
10. Direction
Jon Watts was a relatively unknown director before Marvel tapped him for Spider-Man. After creating his own reels and storyboards to pitch his vision, he earned the job — and Feige’s eye for talent paid off. Watts not only delivered here but went on to direct the rest of the Holland trilogy with both critical and financial success.
Legacy / Final Thoughts
Although this wasn’t Spider-Man’s first MCU appearance, Homecoming reinvigorated a character audiences had grown weary of. Tobey Maguire’s first two films were beloved, but the third fell flat. Sony’s later reboot with Andrew Garfield saw enthusiasm wane further. By the time Homecoming arrived, fans doubted studios could get the character right.
This skepticism was heightened by the fact that Sony, not Marvel, owned the rights. But after disappointing returns for the Amazing Spider-Man films and mounting pressure, a deal was struck: Marvel could use Spider-Man in exchange for Sony taking 95% of the box office. Lopsided as it was, the deal proved invaluable to the MCU, boosting the Avengers films and thrilling audiences.
As for Homecoming itself, it will likely be remembered as a top-to-middle entry in Spider-Man’s cinematic history — an excellent take on the character with an above-average villain and a fun atmosphere. Its only drawback is that it’s one of those rare cases where its sequels arguably surpass it.
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