In this movie, no one says "with great power comes great responsibility" - similarly to the maligned Marc Webb's The Amazing Spider-Man films - yet this creed permeates the entire film and is, essentially, a commentary on its entire existence. Rewinding to a few years ago, and to Andrew Garfield's turn at playing Peter Parker, the Amazing Spider-Man films had two charismatic actors as leads (Garfield and Emma Stone), but the films were poorly-paced and edited, with a convoluted narrative that took weird flights of fancy that never really lead anywhere. The Amazing Spider-Man 2 (2014) was such a low creative and financial point that something unprecedented happened. Sony, the studio that holds the rights to this character since the dawn of the 21st century, decided to share the rights with Marvel Studios (owned by Disney), allowing the friendly neighbourhood crime-fighting superhero to belong, from here on out, to the Marvel Cinematic Universe and, in turn, getting the fine-tuned movie-making machine helmed by Kevin Feige (the president of Marvel Studios) to try and revive this franchise. This way, the "great power" of having Spider-Man back at Marvel comes with the "great responsibility" of making a Spider-Man film worthy of its name.

Spider-Man: Homecoming, directed by Jon Watts (of Cop Car fame), a film that aims to get closer to what makes Spider-Man (and Peter Parker, by extension) one of the most cherished superheroes worldwide, while making something inspired by John Hughes' coming of age, high school movies. This movie offers a new approach to the character: there is no origin story, no spider, no Oscorp, no Daily Bugle, no Uncle Ben, no Green Goblin. It's a very direct "let's get down to the business of being Spider-Man" approach without the overly familiar cinematic and narrative trappings.

The movie starts with a sort of recap of Spider-Man's introductory sequence during Captain America: Civil War last year, this time, seen through Peter's eyes and camera. The following grounded-ness and high school setting help placing Peter as being the scrappy kid, in comparison with the Avengers he fought against and alongside, trying to prove he can hang with the adults, placing at the bottom of the pecking order. This leads Parker to a solo investigation of Michael Keaton's Vulture, while trying to prove to Iron Man that he's ready to ditch high school and go beyond Queens. Keaton is a delight in this movie, finally playing "Birdman" and giving a much better performance as the ambivalent bad guy than in Iñarritu's self-congratulatory film.

It's the most "grounded" Spider-Man movie yet - the focus is very much Queens and not Manhattan - given a very literal sense to the notion of the "neighbourhood" aspect of this superhero: there's a whole sequence depicting Peter, after school, just relishing being Spider-Man that's incredibly fun. If Sam Raimi's Spider-Man 2 is, still, the ideal of what a superhero movie should aspire to be, Spider-Man: Homecoming (even with various canonic changes that will either delight or annoy longtime fans) is arguably the movie that most purely encapsulates who Peter Parker is and how he should be portrait cinematically: all athletic yet clumsy, well-meaning yet dogged by that old "Parker luck". Hats off for Tom Holland who tops both Garfield and Tobey Maguire, but also to the wonderful and totally not token-like multicultural casting, a true joy to watch. It may also be the most comedic Marvel movie so far (yes, even counting Peyton Reed's Ant-Man), leaning into a more 21 Jump Street kind of humor - there is a very fun Donald Glover cameo (remember that twitter campaign #DonaldForSpiderman?) and an "enhanced interrogation mode" technique that pokes fun at the Dark Knight.

Don't forget the standard post-credit sequences - there are two - which are delightful and very funny, especially the last one.