Cretton launches Holland's Spider-Man into what feels like the beginning of a brand new trilogy for the character.
Written by Nandita Joshi
Over the last 25 years, audiences have seen different Spider-Men grace the silver screen in both live-action and animated form – with the everlasting debate of who the best Spider-Man is. Is it the earnestness of Tobey Maguire's Peter Parker? Is it the charisma and sharp wit of Andrew Garfield's Spider-Man? Is it the vulnerability and creativity of Shameik Moore's Miles Morales? Tom Holland vows to climb to the top of everyone's lists in his latest outing as our favourite web-swinger, Spider-Man: Brand New Day, in theatres worldwide now.
Picking up right where we left off in Spider-Man: No Way Home (2021), the memories of Peter Parker (Holland) have been wiped from everyone in the world thanks to Doctor Strange's (Benedict Cumberbatch) spell. Since then, Peter has been focusing his efforts on keeping the streets of New York safe as the friendly neighbourhood Spider-Man. Simultaneously, he is faced with the wistfulness of MJ (Zendaya) and Ned's (Jacob Batalon) lives without him, as well as a transformation he is seeing with his superhero abilities.
The most surprising yet greatly welcomed aspect of the film is its emotional depth. With parental figures like Aunt May (Marisa Tomei) and Tony Stark (Robert Downey Jr.) that were formative during his adolescence out of the equation, Peter braves the beginning of adulthood by himself. There is a strong underscoring of loneliness, regret, and acceptance of unfortunate circumstances, which is the perfect catalyst that moves us away from the optimistic, wide-eyed boy that we have grown so familiar with. Writers Erik Sommers and Chris McKenna (alongside Justin Kuritzkes, who reportedly reworked aspects of the script) understood that the appeal of comic-book Spider-Man is the everyday struggles he faces, making it the most grounded film in the Marvel Cinematic Universe (MCU) to date.
The moment Peter first appears on screen, we know that his outlook on life has fundamentally shifted. He is throwing himself deeper into his work, spewing witty remarks to lighten dangerous situations and proceeds with extreme caution when it comes to his secret identity. To some, it may seem like he is just doing what a superhero is supposed to do, but Holland purposely cements the haphazard yet melancholic undertones in these moments, bringing awareness to the fact that these are all unhealthy coping mechanisms for unresolved grief and trauma.
Many fans, like myself, have grown up with this character – almost ten years have passed since the first film in this series. It is almost as if Holland had the responsibility to be a role model to those who look up to the character so dearly. Thankfully, it is an arc that is brilliantly set up and powerfully executed, reminding its viewers that even Spider-Man, someone idolised by many, cannot deal with hardship alone. Brand New Day has given Holland the space to truly nail the relatability of both Peter Parker and Spider-Man, making it his best outing as the wall-crawler yet.
Director Destin Daniel Cretton, alongside cinematographer Brett Pawlak, make sure that Holland is not the only one in charge of shaping the look and feel of Spider-Man on screen. The web swinging was dazzlingly dynamic, shot as though we were moving across the streets of Manhattan and Queens with him. But that's not all; the fight sequences embody the same flair as the swinging. Cretton and Pawlak definitely took notes from the Sony Spider-Man games, capturing the magnetism of his movement exceptionally.
Following Avengers: Infinity War (2018), the MCU has struggled to contain its characters within the stories, so it is refreshing to see such an emphasis on this in the film. Not every movie needs an "Avengers-level threat" and sometimes the "small potatoes" are enough. Sommers and McKenna pull back from the intense weight of the multiverse we've seen in Phase Six, prioritising the growth of Peter above all. And it is what fans have been craving for.
A major factor in why the film is so well balanced is the cameos and side-characters not feeling overbearing. Let's take Punisher (Jon Bernthal) for example; he is there to serve his purpose as another crime fighter in New York that happens to get himself tangled in Spider-Man's web. What makes it work incredibly well rather than being tacked on is the chemistry he shares with Holland. Bernthal brings out the boisterous, quippiness of Spider-Man that we all know and love. A surprising but welcome on-screen duo that we never knew we needed until now.
Speaking of side-characters and cameos, Mark Ruffalo's Hulk makes an appearance in what is the best characterisation of the green beast since phase one. From the focus being brought back to man versus monster to the famous thunderclap bolstering us back in our seats, we see a return to form for Bruce Banner as opposed to being played-for-laughs.
There has been a considerable amount of secrecy around Sadie Sink's role in the film as soon as the casting was announced. While I cannot delve into who she plays, what I can say is that she absolutely commands every scene she is in with mystery, power, and above all poignancy. You are in for an uncanny reveal.
Cretton launches Holland's Spider-Man into what feels like the beginning of a brand new trilogy for the character. A beautiful metamorphosis into adulthood and the dread that comes with it, as well as a metamorphosis out of the funk that Marvel have landed themselves in. One thing that is for certain is that so long as Holland continues to evolve the character as wonderfully as he is doing thus far, we are all going to want to see it.
Photo Courtesy of Sony
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