The performances he gets out of the young cast are sweet and sparky. The lightness of touch he demonstrated there is here in spades, with a genius Ferris Bueller’s Day Off joke and even the big action sequences (the standout being a Washington Monument rescue) peppered with sharp gags. The director, Jon Watts, is making the leap from a small film himself: 2015’s nifty thriller Cop Car.
One scene in which he turns up at a party hoping to hook up with cool classmate Liz (Laura Harrier) feels like a superhero Superbad: it’s a refreshing spin on the comic-book-movie template, and nice to have a film this big not afraid to frequently keep things small.
He’s barely in control of his powers and appealingly lame. Nimble and shrimpy (though weirdly buff once he removes his shirt), Tom Holland’s Parker is hugely endearing from his first scene, shooting a video diary of the airport fight from Captain America: Civil War on his phone. In no small part this is due to it starring the best screen Spider-Man so far. And, ditching the angst and sludgy plotting of the last few films, Homecoming is easily the best Spider-Man film since Sam Raimi’s operatic Spider-Man 2. This Peter Parker is perpetually on the fringes of something more exciting - less a noble lad discovering his inner hero than a dweeby kid desperate to get into the party around the corner. Secondly, and more crucially, it seems to have set the vibe for the first Spider-film made with Marvel’s direct creative input.
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