#how andrew’s spidey’s never been a natural all he does is try try try

[djokeery]

just got home from watching tasm 2 in a theater for the first time in my life and everything is hitting me in layers

[rate-out-of-10]

SPIDER-MAN: HOMECOMING REVIEW

Since 2002 we’ve seen two actors take up the mantle that is Peter Parker/Spider-Man, Tobey Maguire and Andrew Garfield. Now, with the MCU’s continuously expanding universe and a partnership with Sony, a third joins the fray, Tom Holland. Spider-Man is one of the most recognizable icons in all of pop-culture, so when Spider-Man: Homecoming was announced and that Marvel Studios and Sony came to an agreement to allow Spider-Man to join the MCU, there was a lot of excitement. In addition, we got a wonderful taste of the new take on the web-slinger in Captain America: Civil War (2016), so a solo movie showcasing what this iteration was all about, naturally the hype was extremely high. And it really pays off in the end.

WARNING SPOILERS AHEAD

CHARACTERS/PERFORMANCES

It should be made known that this interpretation of Peter Parker is a younger kid than the past two live-action ones, specifically a 15 year old high school sophomore. Tom Holland is the youngest to play the role to date, and he fits it like a glove. Not only does he look the part being so young, but his whole demeanor and personality is immature, but in the best of ways. He’s quick-witted, and about as blown away as audiences are while he’s pulling off his super stunts. Tom Holland is a refreshing take on a character we all know, and have seen on the live-action screen twice before, and that’s great. He owns everything about Peter, the awkwardness, the genius, and the whimsy and outgoingness of Spider-Man. He’s perfect for the role. Alongside Tom Holland, he has his best friend character, Ned played by Jacob Batalon. Batalon plays the comedic role well enough, however I personally feel that there were too many bits of him just derailing scenes. He was funny, don’t get me wrong, however the film is filled with humor so to have a character that was there almost devoted as the comedic relief seemed a bit tried. His relationship to Peter, however, felt very genuine, so the constant gags he plays always feel in character. From a villain perspective, Michael Keaton’s Adrian Toomes (The Vulture) isn’t anything groundbreaking, but here he works very well with what the film is going for. He is realistic and felt mostly justified with what he was doing, however some jumps in motivation were a bit stark, which made Toomes feel a tad bit under developed. Nonetheless, Keaton plays him very well, with confidence and with just the right amount of broodiness that he didn’t feel at all like another cheesy, weak Marvel villain. On top of Adrian Toomes’ evil doing, I appreciated the humanistic approach to him and his team. When the world is now wracked with aliens and monsters, people of course will start to try and get ahead just to survive, but then to profit. It was a nice commentary on how humans react when they feel outgunned or up against a wall. A “force hand” to The Vulture’s character was very apparent.

Among the top stars in Homecoming, Robert Downey Jr., and Jon Favreau reprise their roles as Tony Stark and Happy Hogan respectively. I’m glad that this film didn’t try too hard to bank on Iron Man, he was a very welcome supporting character, an awkward mentor and a person that Peter thinks very highly of. I’ve missed Happy, not seeing him since Iron Man 3 (2013), and the same goes for Gwyneth Paltrow as Pepper Potts. These characters were all very welcome on screen. The other cast of characters including the rest of Peter’s classmates like Laura Harrier as Liz, Tony Revolori as Flash, and Zendaya as Michelle were all great to see. The diversity in the casting of the film is very commendable as well. It felt like a real diverse high school in a real city. It’s often seen as a little thing, but roles like these do carry a lot of weight and it’s very refreshing to see. On another beat, the younger take on Aunt May (played by Melissa Tomei) worked well with the younger take on Peter as well. She didn’t feel out of place, and honestly, I kind of preferred it. I did want to chime in on the MJ talks too. Zendaya plays a role named Michelle Jones, and at the end of the film she says “my friends call me MJ”, a clear emulation of the known character Mary-Jane, “MJ”, and Peter’s wife in the comics. There’s no real content in the film to say that she is the “new MJ” but regardless, she’s a different character entirely, as seen by how she carries herself here. The nickname is really the only place where the two characters cross. Regardless of future intent for the character, like her potentially becoming Peter’s love interest, she’s not Mary Jane. Her nickname of course pays homage to the “original MJ”, but that’s it. This is Marvel taking artistic liberties, with both diversifying its casting, as well as creating a unique, but still recognizable, universe for Spider-Man.

DIRECTION/WRITING

Director Jon Watts and his writing team had their work cut out for them, crafting a fresh take on the character of Spider-Man as well as blend him in with the established MCU. Skipping the original story completely was the absolute best decision for the film. Instead focusing on Peter’s dealings as Spider-Man, his desire of becoming an Avenger, and his really being a young, naïve kid. This is a grounded, small-scale approach to Spidey. He’s never in downtown Manhattan for example, he’s swinging from smaller building, and using what’s around him to get around. There’s even a bit of him swinging into a gold course where there nowhere to swing so he ends up just sprinting across the screen muttering, “This sucks”. The plotline as well is very small compared to the “world ending” stories that we’ve gotten used to seeing from Marvel at this point. It was refreshing to take a step back and focus on building Peter and Spider-Man, and establishing him, before anything else. The writing is very strong with Peter’s character. I will say though, that there were several bits throughout the film that had great dramatic potential, but were undercut by daft attempts at comedy. Spidey is always going to quipping, that’s a given, but here I felt like the writing was trying way too hard to add humor in not-needed places. I wanted to take things a tad bit more seriously, but I feel like I wasn’t allowed to.

As a storyline goes, it hits all the generic notes, but it relies a lot on Tom Holland’s character to do the heavily lifting. His character is meant to draw in viewers, and if done right, whatever Peter is doing, people should be invested in it. Like I said, it’s a small scale film, and it definitely plays on a lot of cheesy elements (typical high school, typical romance, the same Peter Parker troubles we’ve all seen before), however the film generally does a great job with allowing those things to work with the script and have it still feel exciting, rather than tried. Homecoming paced itself generally well, too. There were some parts that felt a little rushed, some of the high school sequences felt a bit lackluster as well. Almost like they were in there because they had to be, but they didn’t carry too much weight. What really moved the film along was Peter himself and whenever Spidey was on screen. There were some great fight sequences, the ferry scene being the most notable. Spidey was quick, quipping the whole time, and showcased some amazing talents. I very much enjoyed “Karen”, Spider-Man’s computer that Stark put in his suit. I loved seeing the high-tech suit, something we hadn’t seen before. There were some great action scenes throughout, the ferry scene being the most notable. It being the clear height of the film, where we get a real showdown between Spider-Man and Vulture, a great scene with Peter trying to keep the ship from breaking off, as well as Tony confiscating the Spider suit. The movie was in full swing by this time, and Peter’s transition back into his make-shift suit through the end of the film didn’t feel spoiled at all. Heading back to the roots was a nice direction to go in, especially to give a glimpse to what Spidey was before Tony’s suit.

I think Homecoming started in the best of ways. After being introduced to Adrian Toomes during the clean up after the “Battle of New York”, we get a first person, video footage perspective of Peter when he is first picked up by Tony in Civil War, to when he gets his new suit, as well as him filming while he’s waiting for his queue to swing in and take Cap’s shield. I thought that whole bit was extraordinarily clever and the best way to introduce Holland’s Peter into this movie. Separately, it isn’t abundantly clear when this film takes place. We do get an ”8 Years Later” stamps after we see Toomes cleaning up New York; we’re obviously somewhere in between Civil War, as Cap is cited as a war criminal now, and the events of Doctor Strange and the Earth bit of Guardians 2 isn’t mentioned at all. I also have to give a great commendation for Cap’s troll of a post-credits scene. After Gunn’s clever post-credits bombardment in Guardian’s 2, we get Cap doing a PSA announcement on “patience” and how it’s so important, even when faced with something so disappointing when you waited a long time to get to it. I see you, Marvel.

Final Rating: 8.5/10

I think Spider-Man: Homecoming is exactly where the MCU needed to go with Spider-Man. It didn’t waste too much time getting to him, it gives Tony and Happy, new Spider-Man gadgets and things, and it was an all-around good time. There may have been some issues with the comedy undercutting some important, potentially dramatic scenes, and the plotline being a generic one, but the film is a lot of fun regardless because Tom Holland alone reels you in and keeps you smiling. It’s small scale, and to some it may feel a tad bit underwhelming, but for the character of Spider-Man, this is where we needed to see him. In a “friendly, neighborhood” setting. It worked really well, and I can’t wait to see what’s in store for Spider-Man in the future. I really hope he’s here to stay because: objectively, this is a great movie and Tom Holland is wonderful, but subjectively, Spidey is my favorite in all of Marvel comics, so I really want him to stick around in the MCU.

[kazephantom]

Spider-Man Homecoming thoughts

Well, my first one is kind of a spoiler but I think it is important to know.  Leave your expectations at the door.  This is a new version of Spider-Man, one that is different from any other version.  This is not Sam Rami Spider-Man, this is not Andrew Garfield Spider-Man, this is not Ultimate Spider-Man cartoon or comic, and this is not 616 Spider-Man.  This is a new version, a new interpretation of the character and mythos.  That being said, I liked it for what it is.

Thoughts and spoilers below the cut

The two best parts of the film are Tom Holland’s Peter Parker and Micheal Keaton’s Adrian Toomes.  The two actors play their characters so wonderfully well, Tom Holland’s Peter really, really reminds me of Tobey Maguire’s, from the voice he uses as Spider-Man, to how he sometimes comes off as lovably pathetic, and Hell, in some shots Tom Holland even starts looking like a younger Tobey Maguire.  That being said, he does tell more than one joke in the film, so his Spider-Man has that over Maguire’s. Oh, it should be noted though, he does not have Peter’s anger. Even in the scene where Tony takes away the tech suit, I really expected him to get angry there and show that aspect of the character off, but instead he just, kinda starts to cry.  Which, I don’t know how to feel about. 

Micheal Keaton. Hands down. Plays the best MCU villain. To date. Better than Loki. There I said it.  Hiddleston’s Loki has always had the problem of being too sympathetic to be taken seriously as a villain.  But Keaton. Holy shit. Everything he does is for his family, there’s a scene where he’s with his family and he is so sweet and caring and a perfect father and husband, but then. HOO BOY. That car scene. The scene where Keaton is dropping Peter and Liz off at the dance, I had white knuckles all the way through it.  The way he made Peter say ‘Thank you’ was terrifying.  And the way he found out Peter was Spider-Man, as they drive and you start to see Keaton put the pieces together. HO-LY SH-IT.  Only problem: nobody ever in this whole film calls him “The Vulture.”

Two more important notes about Spider-Man. First, Remember how in Civil War he was really, really strong?  Well forget that, because in this film he’s really, really weak.  Like, the weakest we’ve ever seen him.  Not just his strength, but also his sticky powers.  It is commonly accepted that Spider-Man’s stickiness is absolute, that it is an unbreakable molecular bond. When he sticks to something, if you try to remove him from it you will break the thing he is stuck to before the sticky bond comes undone.  Well forget that.  Because in this film Spider-Man is slippy and sliding all over the place when he’s sticking. Not just when he’s on a plane and in huge wind resistance where it might make sense, but when he’s climbing the Washington Monument, he can be seen sliding and loosing his grip on that too.  This could just be chalked up to him being nervous and inexperienced, but I really, really, really hope that it changes going forward and that Marvel can stay consistent with how strong this version of Spider-Man is supposed to be. Oh yeah, and no, at no point in the film did Spider-Man ever express his Spider-Sense.  I really hope this is just a case of “his powers are still growing”

Second point, that inexperienced bit.  Yeah. This is the most inexperienced Spider-Man we have seen on film to date.  I think the best symbol for this is the fact that this Spider-Man never once webswings in the city.  He is always shown in the residential neighborhoods, never once does he really webswing around.  He never goes to the big buildings.  Again, for this movie I liked that and it fit it’s tone, but I really hope the next film has him going all out, and has him in true form.

No Daily Bugle, no J. Jonah Jameson. I really think they were afraid to recast him after J.K. Simmons’ legendary performance, and as humorous as that is, I’m kind of sick of it.  Just recast already, we’re at the point now where it’ll be ok. Bite the bullet on this. 

I was one of those people who was really afraid this film would turn out to be Iron Man 4, and I am happy, so so so happy to say it is not.  Yes, Tony is in this, yes Iron Man is in this, but it’s not too much.  Tony really only has four relatively short scenes that I can remember, but they are important scenes plot wise.  I think he basically shows up to open and close every act.  The movie is definitely about Peter though, thank god.

Oh yeah, and the Iron Spider is in the film. Or, a version of it.  It invokes feelings of the Iron Spider, what with being an armored costume for Spider-Man, but in the end Peter turns it down and all for the better..... but I want a figure of it.  It was kinda hard to see the design, since it was in shadow a little, and there was no glory shot of it, but what I saw of it was cool and I want a figure of it.

Best Aunt May, her role in the film is what every Aunt May’s role should be. Oh, and that was the absolute best way to end the film “WHAT THE FU--”

Oh yeah, I was also worried about the highschool setting, since 30 year old writers pretty much never know what a modern highschool is like, (I’m 23, only 5 years out from it), but this highschool setting was perfect. The teachers. Just. Did. Not. Fucking. Care.  And that is so much my highschool experience.

Zendaya is MJ, but she’s not Mary Jane, and she’s really only there to set-up for the sequel.  It’s really nice set-up though.  They seem to have a good grasp on the idea of MJ’s character, how she wears a metaphorical mask to hide her true self just like how Peter wears a literal mask.  All we see in this film is her metaphorical mask persona and it’s good to be acquainted with that before exploring her further.  NOW, Yes, I would have preferred 616 the-mask-is-a-party-girl-Mary-Jane, and yes, Changing the character’s real name to Michelle is absolutely fucking unnecessary and stupid.  But I think it’s too early to judge this version of the character because we have so little information about them. 

Also there to set-up for the sequel is Mac Gargan, he has a role in the film itself as one of the people buying Vulture’s tech, but really his most important bit is the mid-credits scene, where he sets up the Sinister Six, and then Micheal Keaton’s Vulture wonderfully knocks that set-up down.  Also, he does not become Scorpion in this, though if he does come back in the sequel to be Scorpion I’d be cool with it.  His character is pretty much a total psychopath and we haven’t seen Spidey fight a villain like that in the movies yet.

That being said, if the next movie is Sinister Six I have total faith in Marvel to be able to do it, since this film had Vulture, Tinkerer, Prowler, Scorpion, and two Shockers in it, yet it never felt like that weighed the film down. Showing Spider-Man 3 and The Amazing Spider-Man 2 once and for all that it doesn’t matter how many villains you have, it’s how you use them that matters

The post-credits scene is the funniest one yet. Funnier than Deadpool’s even. 

Now, there are two things about this movie that I absolutely LOATHE... or, at least don’t like and think were completely unnecessary

Ned-- Holy fuck he was annoying.  His dialogue was nowhere as cringy as it was in the trailers, since they did that thing were they used alternate takes for the trailer lines, and yeah, the trailers for this film did not do it justice at all.  Ned’s “But you are a kid” line in the trailers sounds so forced and poorly acted, like he’s trying to be epic about it but comes off instead like he’s out of breath, but in the film it is so much more natural and quick. Back to the point though.  Yeah, he’s just Ganke.  They stole Ganke from Miles, gave him a white guy name, and gave him to Peter. And ‘Nedke’ and Peter do not have the same chemistry that Miles and Ganke have. Nedke’s role in the film is basically to just be a tool, a tool for the film so that Peter has someone to talk to to explain things too, and someone to be really, really stupid.  And that role would’ve been served so so so so so much better by Harry Osborn without the stupidity.  There is a montage at one point where Nedke is asking Peter a bunch of Spider-Man questions out in the open and Peter is just trying to get him to shut up, and it was so annoying I wished Peter would punch him in the fucking face. ....That being said he had one of the funniest jokes in the movie. “I’m... watching porn?”

Karen-- Hoo-boy. Ok. So. Spider-Man really is kind of just an Iron Man Jr. Even down to the fact that his suit has it’s own AI that talks to him and tells him what to do and stuff.  The taser webs are stupid and unnecessary, as is so so so much of the tech in Peter’s suit.  I’m glad that the webwings are clearly shown to just be for short range gliding, but I still think they’re unnecessary.  The film seems to go out of it’s way to show how Peter’s standard webline could be limited in certain situations, from being in a residential neghborhood, to climbing the Washington Monument where there’s nothing else around to swing on, setting an action scene on a boat (which how Iron Man saved that boat is completely physics defying), to even having Peter go way up into the air on a plane.  Back on point, yeah, Spider-Man’s suit has a completely unnecessary AI.  It’s only real purpose in the entire film is to be the punch line to one joke where the AI, which should have no human emotions or concept of human relations, tells Peter to kiss Liz. 

Other things I didn’t like but don’t really get on my nerves too much

The music sucked.  Just, sucked.  The only one that was any good was the orchestral version of the 60′s theme song.  I’m really torn with which theme I like better, the Orchestral 60′s or the Rami theme.  One of these days though, I need to put together a Spider-Man playlist and show these films what that should be like.

Peter didn’t end up beating the villain, he just won through pure coincidence.  Which I guess can be part of the point and audiences might be tired of the “good guy wins through a fist fight” climax, but still, Peter’s victory in this just, didn’t feel earned.  He didn’t show Vulture error of his ways, or talk him out of a life of crime, Vulture’s wings just took on enough coincidental damage to finally explode of their own accord.

Alright, I think that’s everything I wanna get down.  Or at least everything I can think of right now.  I’m tired now, gunna go watch some reviews, see what others thought and hopefully get to see this film in theaters again soon with friends.

[ethanalter]

10 Classic '80s and '90s Movies That Influence 'Spider-Man: Homecoming'

Tom Holland and Jacob Batalon in Spider-Man: Homecoming (Photo: Sony Pictures)

Warning: This post contains spoilers for key scenes and plot points of Spider-Man: Homecoming.

If you’re a Marvel Comics fan, Spider-Man: Homecoming is a veritable gold mine of Easter eggs from the wall-crawler’s 55-year-and-counting career of catching thieves just like flies. At the same time, it’s equally rich with homages to popular teen movies from the ’80s and ’90s. Even before the film went into production, Marvel Studios chief, Kevin Feige, made a point of describing it as a “John Hughes movie,” directly name-checking the writer and director responsible for so many of that era’s high school classics.

In separate interviews with Yahoo Movies, star Tom Holland explained that director Jon Watts gave the young cast a must-watch list of classic movies to watch before shooting began, while Homecoming  co-writer John Francis Daley elaborated on the Spidey-Hughes connection. “What John Hughes was best at was finding the funny in the relatable… and to keep Peter as a truly normal, grounded, relatable person I think is really set him apart from all the other versions of Spider-Man that people have seen.” Homecoming‘s cinematic influences do extend beyond Hughes, though. Here’s a list of 10 teen favorites that are overtly, or subtly, referenced by Spider-Man and his amazing friends.

Matthew Broderick in ‘Ferris Bueller’s Day Off’ (Photo: Everett Collection)

Ferris Bueller’s Day Off (1986) This one is kind of a gimme; while in hot pursuit of the Vulture’s henchmen, poor Peter Parker (Tom Holland) has to forego his usual web-slinging action due to the fact that he’s in that dreaded low-rise territory known as suburbia. Crashing through backyard after backyard, he passes a pool party where Matthew Broderick’s own climactic backyard chase from Ferris Bueller’s Day Off is playing out on a TV screen. “Great movie,” Peter calls out as he continues on to the next yard. (Wonder if he considers Ferris Bueller to be as ancient a film as The Empire Strikes Back?) “That scene is a perfect example of our challenge to take Spider-Man out of a world where he’s comfortable,” director Watts told Yahoo Movies. “If you put him in the suburbs where there’s nothing tall to swing from, what does he do? It was a great opportunity to put him in an awkward situation.”

Judd Nelson and Ally Sheedy in ‘The Breakfast Club’ (Photo: Universal/courtesy Everett Collection)

The Breakfast Club (1985) At a press conference in June, Zendaya revealed that Ally Sheedy’s proto-Goth girl, Allison Reynolds, is a direct ancestor of her Homecoming character, Michelle “M.J.” Jones. And the two do have a lot in common, including a quiet manner that masks a caustic wit, as well as a flair for epic side-eye and eye-rolls. In fact, Michelle is glimpsed sitting in detention alongside Peter — the Anthony Michael Hall of her school — in one memorable Homecoming scene, despite the fact that she’s not even supposed to be there. Speaking with the press, Zendaya made it clear that she hopes modern teens take away the same lesson from Michelle that their parents learned from Allison, namely that: “It’s OK to be weird. If you make things awkward and uncomfortable, that’s cool. I love that Michelle’s outspoken and says what everyone’s thinking, but she just doesn’t care.”

William Zabka and Ralph Macchio in ‘The Karate Kid’ (Photo: Mary Evans/Ronald Grant/Everett Collection)

The Karate Kid (1984) He may not pledge allegiance to Cobra Kai, but Flash Thompson (Tony Revolori) is totally the Johnny Lawrence to Peter’s Daniel LaRusso. Whether calling him “Penis Parker” (itself an indirect shout-out to another ’80s classic, E.T.) or engaging in some decidedly unsportsmanlike trash talk during Academic Decathlon training sessions, Flash is always eager to humiliate his rival on the most public stage possible. But Peter, like LaRusso before him, scores the final knockout, hijacking Flash’s car and leaving him by the side of the road with his homecoming date. Revolori, who previously played the hero of Wes Anderson’s acclaimed 2014 film, The Grand Budapest Hotel, has said that he enjoyed breaking bad in Homecoming, especially since the movie doesn’t make an issue about his race. “The fact that there’s not a single line of exposition to explain why I look the way I look. I’m just in the movie. It’s not about being a certain race, and I think that’s the kind of diversity we need in Hollywood right now.”

Can’t Hardly Wait (1998) If only Peter had re-watched this nostalgic ’90s favorite before heading over to Liz Allan’s shindig, he would have realized that a high school house party is the absolute worst place to try and impress the girl you’ve been crushing on for years. Sure enough, his plan to swing in and make a big splash as Spider-Man is thwarted by an unplanned side mission involving the Shocker. Can’t Hardly Wait‘s Preston (Ethan Embry) is similarly unable to persuade his dream girl, Amanda (Jennifer Love Hewitt), of his affection due to a series of increasingly crazy circumstances. According to Daley, an early version of the storyline involved Peter hosting the party instead of Liz, but is similarly prevented from joining the festivities in costume. “All the cool kids from school burst into his bedroom while he’s gone and just start going through all his s—t, like all the toys he still kept.” Adds Daley’s co-writer, Jonathan Goldstein: “That’s very Hughes-ian, like the characters Anthony Michael Hall used to play. The kid who’s too old to still be doing this stuff.”

Anthony Michael Hall, Kelly LeBrock, Ilan Mitchell-Smith in ‘Weird Science’ (Photo: Universal Pictures/Courtesy Everett Collection)

Weird Science (1985) We should probably be glad that geek buddies Peter and Ned (Jacob Batalon) are only applying their serious science and tech skills to making web fluid and hacking Tony Stark-designed super-suits. Otherwise, they might go and do something really weird…like building a cyber-girlfriend who steps out of the computer and into reality. Here’s another fun connection between Weird Science and Homecoming: Robert Downey Jr. is a big ol’ spoilsport in both. Back in ’85, he dropped a red Icee on dorks Gary and Wyatt, and 32 years later, he drops a bomb on Peter by taking away the teen’s Spider-Man suit after his Staten Island Ferry mishap.

Jon Cryer and Molly Ringwald in ‘Pretty in Pink’ (Photo: Paramount / Courtesy: Everett Collection)

Pretty in Pink (1986) High school law eschews the designated dork from taking the pretty girl to the big school dance. But Hughes went and upset the natural order of things by having Duckie (Jon Cryer) swoop in and rescue his best friend and longtime crush object, Andie (Molly Ringwald) from being stood up at the prom by status-conscious Blane (Andrew McCarthy). Truthfully, it was a bridge too far for audiences at the time, who demanded that the ending be reshot with the pretty girls and the popular guy walking off into a happily ever after. For a brief moment, though, Duckie got to be the hero who gets the girl, a geek dream that Peter gets to live out when he asks the significantly more popular Liz to the homecoming dance and she says yes. For better or for worse, he ultimately loses the girl to her villainous dad rather than a petty prepster.

Michael J. Fox in ‘Back to the Future’ (Photo: Universal/courtesy Everett Collection)

Back to the Future (1985) No sooner has he gotten to Hill Valley High’s “Enchantment Under the Sea” dance than Marty McFly (Michael J. Fox) has to ditch his date — and future Mom — Lorraine (Lea Thompson) in order to take care of some pressing time travel business. Peter isn’t able to bust a move at his school’s homecoming soiree either, regretfully abandoning Liz on the dance floor in order to thwart her Vulture father’s plot to raid Tony Stark’s airborne storage locker. At least Marty gets to invent rock and roll during his time brief time at the Hill Valley dance; Peter has to bail before he can show off how he can out-Rihanna Rihanna.

Jennifer Connelly and Frank Whaley skate the night away in Career Opportunities (Photo: Universal Pictures)

Career Opportunities (1991) Peter Parker isn’t the only nerd lucky enough to spend a night locked in a facility with Jennifer Connelly. This John Hughes-scripted comedy traps awkward outcast Jim (Frank Whaley) and knockout Josie (Connelly) in a Target store after closing time, where they have to contend with their wildly different backgrounds, as well as a pair of bungling burglars. Midway through Homecoming, Spider-Man’s attempt to foil a Vulture robbery lands him in deep storage inside the U.S. Department of Damage Control, with only his “suit lady,” a.k.a. his in-suit A.I. K.A.R.E.N. (voiced by the Beautiful Mind Oscar winner), for company. We’ll leave it to you to decide whether Target for the Damage Control storage locker has better toys.

Pee-wee’s Big Adventure (1985) Not a teen movie, you say? Perhaps that’s true, but Tim Burton’s feature filmmaking debut is nevertheless an ’80s classic for young kids and teenagers alike. Besides, it can’t be accidental that Spider-Man’s first big victory in Homecoming involves stopping a bicycle thief. And he doesn’t even have to leave Queens to do it! Poor Pee-wee Herman has to travel all the way to Texas to recover his beloved two-wheeled ride. Here’s an eye-popping face-off we want to see in the Homecoming sequel: Spider-Man vs. Large Marge.

 Watch: Tom Holland Wants His Peter Parker to Be This Generation’s Marty McFly:

Get more Spider-Man scoop from Yahoo Movies:

Your Ultimate Guide to the Spider-Man: Homecoming Easter Eggs

Decoding the End Credits of Spider-Man: Homecoming

Revisiting the James Cameron Spider-Man Movie That Never Was

[njawaidofficial]

'Spider-Man: Homecoming': Why Does Everyone Send Spidey Back To School?

http://styleveryday.com/2017/07/06/spider-man-homecoming-why-does-everyone-send-spidey-back-to-school/

'Spider-Man: Homecoming': Why Does Everyone Send Spidey Back To School?

Peter Parker originally spent 1962-65 at Midtown High, and there’s a good reason movies from Sam Raimi’s trilogy to ‘Homecoming’ keep going back to that well.

For a period that is continually referred to in movies, animated TV shows and other adaptations and revivals across the decades, it’s worth noting that the comic book Spider-Man only stayed in high school for three years originally. What is it about the idea of Peter Parker as a teenager that people can’t leave alone?

The cover of 1965’s The Amazing Spider-Man No. 28 promised a landmark issue for fans who had been following the hero since his 1962 debut in Amazing Fantasy No. 15. It wasn’t the hero’s latest villain — “Cloaked in darkness, Spidey faces the mystifying menace of… The Molten Man!” — that was the primary draw, however. Instead, it was the tease at the bottom right of the page: “Also in this landmark issue: You won’t want to miss Peter Parker’s graduation!”

It was the end of an era: a sign that Spider-Man was about to give up childish things and live up to the second part of his name, in the process going from the “friendly neighborhood” screw-up of the book to that point to something more — if not completely, because why abandon a successful formula entirely — mature and heroic. It’s no accident that the iconic scene where Spider-Man fights off his self-doubt to lift tons of machinery and free himself from certain death comes just a handful of months later. “Anyone can win a fight — when the odds — are easy!” he monologued at the time. “It’s when the going’s tough — when there seems to be no chance — that’s when — it counts!”

This scene — repeatedly referred to by fans and creators alike as one of the most potent, important Spider-Man moments in the character’s entire history — is intended to show him stepping out beyond the childishness and self-centered nature of earlier issues. So why is everyone so intent on regressing Spider-Man back beyond that point, whether it’s in three different attempts at a movie franchise, multiple cartoons or no less than three flashback comic book series? (It’s worth noting that Tobey Maguire’s Spider-Man left high school behind in the first film, while Andrew Garfield’s left it in the second.)  

The high school era of Spider-Man doesn’t just show Peter Parker coming into his own as Spider-Man, but creators Stan Lee and Steve Ditko working out what is, and isn’t, a Spider-Man story. For example, Amazing Spider-Man No. 1 features two stories in which the hero saves a doomed military space capsule (“Instead of flapping your lips, mister — just watch and see what I can do!”) and fights a Russian spy — neither of which feels appropriately “Spider-Man-esque” from today’s vantage point. That he essentially loses the latter tussle and is seen running into the night with a thought balloon that reads, “Nothing turns out right… Sob … I wish I had never gotten my super powers!” just underscores how off-model the early material is.

Yet, for all the awkward growing pains — the cover for Amazing Spider-Man No. 8 proclaims it the “Special ‘Tribute-to-Teen-Agers’ Issue!!” — the first 28 issues of the series are where the groundwork for everything was laid down: iconic villains Doctor Octopus, Kraven the Hunter, the Chameleon, the Sandman, Electro, Mysterio and the Green Goblin debut during this era, sure, but so did the Daily Bugle, J. Jonah Jameson, and Spidey’s perpetual concern about Aunt May’s health and her finances. The amplified soap opera of the series, too, comes into its own during this period, with Peter Parker proving himself supernaturally able to feel existential teenage angst about any given topic required.

In many ways, this is the motherlode of Spider-Man — almost all aspects of the franchise’s DNA can be found in this period, even if some would take years to coalesce. (Mary-Jane Watson is only teased, never shown, and the romantic nature of the character wouldn’t really come to prominence for some years after; Norman Osborn’s unmasking as the Green Goblin was some time away, also.) But that’s not the only appeal of this era — after all, the same argument could be made for the earliest Iron Man comic books, yet the movies avoided re-creating that era for good reason. (No one needs to see that much Communist panic today.)

By placing Peter Parker in high school, he gains two things that differentiate him from other superheroes: First, he’s literally a kid in a world of adults. Secondly, because he’s a kid, he has license to screw up and learn from his mistakes in a way that would seem irresponsible if he were older; we expect kids to do this in a way that adults aren’t permitted to. It allows for a different kind of superhero origin, one that takes place over a longer period and gives the audience more chance to empathize with the hero onscreen, confident that they’d take just as long to learn how to do it as this loser. 

Bringing Spider-Man back to basics and turning him into someone the audience can more easily identify with? No wonder that so much time and energy has been spent trying to re-create the high-school days.

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