With a great reboot comes great responsibility.

As with many of us, the 90s were an eventful time for Marvel…and not necessarily in a good way. While the decade began strongly, by 1996 things looked about ready to implode and, as odd as it may seem now, the comic book behemoth was within touching distance of folding altogether. And perhaps would have done, if it weren’t for a fire sale of film rights to their most bankable characters.

While the intrinsic value of X-Men, Hulk, and Fantastic 4 will never be in doubt, the undeniable jewel in the crown was Spider-Man. Sold to Sony Pictures in 1999, Spider-Man has the kind of worldwide recognition and financial value that not even the combined clout of Batman and Superman can touch. Of course, as we all know, with great power comes great complication (I’m sure that’s how it goes) however, so it’s little surprise that Spidey’s license deal be held together by an incredibly intricate web that few of us have the time or inclination to begin understanding.

The story since Sony’s purchase has included: two Sam Raimi-directed classics, one Sam Raimi-directed mess, one above average reboot, and all-out one horror show. In the twelve years between 2002’s Spider-Man and box office flop The Amazing Spider-Man 2, the character has swiftly gone from hero to zero; to the point where Sony were left with one almighty white elephant on their hands.

After The Amazing Spider-Man 2’s eventual crash and burn, Sony were left with little option than to turn to the now-dominant Marvel Studios in a bid to reinvigorate their character. By picking up Sony’s pieces and injecting the web-slinger directly into their ever-expanding cinematic universe, Marvel have delivered something few comic book fans thought possible and, as the film’s title suggests, this latest chapter in Spider-Man’s never-ending saga signifies a quite literal homecoming for the hero.

Still on a high from his brief stint with The Avengers, Peter Parker (Tom Holland) attempts to assimilate himself back into life as an ordinary New York high school student. Under the watchful eye of new mentor Tony Stark (Robert Downey Jr.), Peter attempts to balance a life of normality with the web-slinging antics of his alter ego, Spider-Man. The balance is far from easy however and, as the villainous Vulture (Michael Keaton) emerges from the shadows to threaten his friends, family, and neighbourhood; he has no option but to step up.

Like Batman and Superman, Spider-Man’s big screen portrayal has become something of a conveyor belt of different iterations over the years, all with varying degrees of success. As an icon, the superhero operates in the same pop culture space as his two DC associates, thus inviting reinterpretation as trends and tastes come and go. Despite the character’s mailability, however, there are certain aspects that are non-negotiable; ones at the heart of who Peter Parker is and what he stands for. But, while Spider-Man’s previous big screen interpretations have had their moments, neither have definitively nailed the character.

Although Tobey Maguire and Andrew Garfield both brought something unique to the table, neither of their Spider-Men were able to secure a sure enough handle on both the web slinger’s conflicting sides. While Maguire personified Peter Parker’s nerdy outsider, his Spider-Man always felt lacking and, conversely, Garfield’s Spider-Man had all the superhero quips and charm, while his Peter Parker fell wide of the mark. After fifteen years of attempts, however, it looks like we’ve got ourselves the definitive Spidey we’ve been waiting for, folks.

Clocking in at eye-wateringly youthful 21, Holland appears born for the role. This a young man amidst a world of seasoned, larger than life stars and it’s hard not to miss the parallels between the actor’s rise to prominence and his character’s. Holland’s fresh-faced, naïve energy and boundless enthusiasm encapsulates the essence of both Peter Parker and Spider-Man like no one before him. He possesses all the humour, charisma, and nerdish charm that fits the hero so well but, with the rubber limbs and pure physicality that comes via the young actor’s background in dance, the kid simply looks the part.

Director Jon Watts and the film’s army of writers have dug down deep into the heart of the Marvel’s iconic character and were clearly unfazed by the idea of taking things back to basics. While returning Peter Parker back to the school and the streets he came from may feel like an obvious move in hindsight, it’s most definitely a risky one. Yet, thanks to the clear passion poured into this latest reboot from all involved; this bold, grassroots approach is a knockout success.

Let’s face it, as fantastic as they are, there’s not a soul alive that’s willing to buy either Andrew Garfield or Tobey Maguire as a high school student but, in Tom Holland, there’s no such risk. For all intents and purposes, he is a high school student and this verisimilitude is crucial in selling the film. There’s been a rather irksome tendency in all previous films to gloss over Peter Parker’s school years in a hurried attempt to grow him up and get him out into the world, but Homecoming is having absolutely none of it. School was where we first met comic book Spider-Man, so meeting MCU Spider-Man there just feels right.

Both Jon Watts and producer Kevin Feige have gone on record to cite John Hughes as a major influence on their approach to Spider-Man: Homecoming and they clearly weren’t kidding. With nods to everything from Ferris Bueller’s Day Off to The Breakfast Club via Sixteen Candles, the hallways of Midtown School of Science and Technology echo with all the youthful exuberance and carefree spirit that marked Hughes out as the voice of a generation of confused teens.

By milking the Hughes influences for all their worth, the filmmakers are able to construct a genuine team aesthetic among their young cast to the extent that, while Homecoming is every bit a Spider-Man film, the unity ensures that Peter’s heroic journey has a strong foundation to it. John Hughes films were as much about the ensemble as they were about their protagonist and Homecoming is certainly attune to this as the film’s diverse cast add a charm and a depth that previous Spider-Man movies sorely lacked.

In amongst all the film’s obvious John Hughes-isms lies a far more surprising influence as all the teen angst and hijinks bleeds seamlessly into Homecoming’s action. Not only is the sight of Spider-Man chasing down bad guys through fences, hedges, and back yard swimming pools a note-perfect Ferris Bueller riff; but it’s a scene that evolves impeccably into one of the film’s standout action set pieces. As we become increasingly accustom to the recurrent tropes of the superhero film, the genre will need to expand its horizons to stay relevant and, by folding in the high school drama into the mix, Homecoming feels like a breath of fresh air.

To some, the story may be a little light to the touch but, while Homecoming certainly doesn’t have the operatic grandeur of the Sam Raimi era, the film’s nimbleness fits perfectly with the small-scale stakes at hand. A persistent problem with the worst of Spider-Man’s cinematic offerings is just how bloated they can get; becoming overloaded with unnecessary sub-plots and bad guys to the point of farce. It’s a great relief, therefore, that Homecoming is so doggedly determined to play it simple with an easily manageable villain and a mercifully tight script.

With Michael Keaton in full flight and amidst the kind of career renaissance that’d make Matthew McConaughey blush, his Adrian Toomes (AKA Vulture) operates as one of the finest Marvel villains to date. While Homecoming provides many side baddies, they all rather to sink into the background under the scene-stealing shadow of Keaton’s unhinged ruthlessness. Not since Alfred Molina’s pitch perfect Doctor Octopus, has Spider-Man had a nemesis so chilling, yet so relatable and, while many still argue that Marvel has a villain problem, trust Keaton to swoop in and blow the theory clean out of the water.

Of course, with Spider-Man now fully integrated into the Marvel Cinematic Universe, wider franchise connections were almost inevitable. Liberally sprinkled throughout, the thought of the once distinctly solo superhero, now dealing with references to other films and characters may sound a little unwieldy, but Homecoming never allows them to hinder the viewing experience. Some may scowl at the film’s rather scattergun Easter egg deployment, but for those among us that remember Spider-Man’s cinematic dark days, every tasty nugget of connection with the greater MCU, is something worth savouring.

Even the film’s marketing campaign, which had a distinct Iron Man 4 vibe about it, feels rather misleading, with Tony Stark’s appearances distributed sparsely and naturally, considering the context. Far from feeling forced, the inclusion of Iron Man as Peter’s mentor and surrogate father-figure, makes perfect complete sense within the context of the film to each character and the sparkling chemistry between Robert Downey Jr and Tom Holland that began so brightly in Captain America: Civil War, is built upon well here.

With the sprawling Marvel Cinematic Universe kept largely at arm’s length, so too are the worst excesses of the superhero genre, as Homecoming makes a point to keep the action scenes as low-key and relatable as any Spider-Man film before it. The street-level New York and Washington locations bring things down to the ground level that, while he’ll regularly be seen swinging from the rooftops, feels like Spider-Man’s natural habitat.

With confidence in the character at an all-time low, the thought of the second Spider-Man reboot in the space of five years would’ve appealed to few but the foolhardiest among us. Step forward Marvel Studios to save the day and rescue Peter Parker from superhero oblivion. In wisely handing over creative control to Marvel, Sony have managed to pull Spider-Man’s name from the mud by delivering the definitive version of the hero and an actor in Tom Holland that appears willing and able to take the character into the future. Bolstered by a fantastic villainous turn by Michael Keaton and an infectiously energetic John Hughes vibe, Spider-Man: Homecoming is an entirely fresh take on an old-fashioned superhero movie that, in one fell swoop, has rejuvenated your friendly neighbourhood Spider-Man for a whole new generation.