Preamble

At this point, I get more writer’s block from preambles than the actual review itself. I don’t know whether that’s just funny or sad. But it’s good from time to time (even when I’m not feeling it) to come here and briefly lay out my stall for you all. In the case of Tom Holland’s Spider-Man, it’s been a gradual climb to see his appeal as the character and the MCU’s version of Spidey in general. So, with that said, a fresh reboot (of sorts) may be the ticket. Have you seen Spider-Man: Brand New Day yet? Let me know in the comments below.

Brief Consideration

Despite the title, Brand New Day, which, like its comic book counterpart, boasts a new status quo and approach, the latest Spidey flick instead plays like franchise pick-and-mix. From embarrassing scenes involving a naked Peter Parker (cocooned in webbing), evoking the spirit of some scenes in James Cameron’s 90s script, to first-person web-swinging scenes (hearkening back to Marc Webb’s unique cinematic choice in 2012’s The Amazing Spider-Man). This aspect, along with an overabundance of characters and a few instances of convenience, makes Brand New Day stumble, but never falter.

This is due to the film’s newfound sense of maturity, leading with the neurotic and sheer tragedy of its main character. In fact, the central point of Peter Parker throwing himself into his work as Spider-Man so much that he’s neglecting himself (to the point that it’s taking a toll on his body) is a relatable point about work-life balance. At the same time, the film marks the best paralleling between hero and villain since Sam Raimi’s trilogy. Rather than rely on the trope of the corrupted mentor who lost their way (signifying a dark mirror for Peter), Brand New Day’s antagonist/hero dynamic speaks to a profound sense of loss and loneliness of dealing with it.

The film also excellently deals with the aftermath of the last film (in which Peter’s girlfriend, MJ, best friend and the rest of the world forget he is Spider-Man). Peter and MJ’s scenes are the film’s highlight, speaking to how time changes people and how it can sometimes be the factor in deciding everything.

Finally, director Destin Daniel Cretton matches the Ol’ Webhead with a dynamic camera that awkwardly slithers through parties with documentary-style long takes and slows down for beautifully composed tableau shots that feel like living comic book pages. Cretton is the most exciting thing to happen to the character in years, even reinvigorating his web-swinging and, in my case, making me feel a palpable sense of vertigo in a few instances.