Spider-Man Homecoming - July 7, 2017 (1 Viewer)

[Tino]

My wife and I just rewatched this weekend.

I was hoping my opinion of it would improve.

No such luck

Still the worst Marvel film so far. Annoying to no end. Hated his dopey friend. Boring action scenes. I really dislike this film.

Although the 3D was great. So at least that was something.

Oh and the wife shares my opinion.

 

[Adam Lenhardt]

I just rewatched it this weekend myself.

I enjoyed it more than you, but I kept finding myself wishing that there was much less Tony and Happy and much more high school coming of age stuff.

I get that Sony wanted to get theirs in exchange for letting Marvel use Spidey in Captain America: Civil War and the Avengers movies, and one of the points of the MCU is that "it's all connected."

But I like Spider-Man the most when he's a kid from a lower-middle class background struggling to keep his life together while saving the city. Giving him the safety net of the world's most famous billionaire inventor undermines a lot of what makes you want to root for the character.

Michael Keaton's Vulture is one of the best MCU villains, though, specifically because he's not some homicidal maniac. You understand why he does everything he does.

For the next one, I'd love to see them put the MCU stuff on the backburner, and just tell the story of his junior year of high school.

 

[Josh Steinberg]

For the next one, maybe they'll begin at the moment this one ends, with May discovering Peter's secret identity. Then they can do a flashback with him telling her how he got to be Spider-Man, and return to the high school setting after that.

I can't imagine that we're never gonna get this Spidey's origin.

I wouldn't mind if the next one was less MCU, but apparently the deal requires Marvel Studios to provide an MCU-leading character to each Sony film, so if that's true, it'll happen again.

But I didn't mind the level of MCU in this movie. One of the things I love about the Marvel movies (and dislike when they're absent from other franchises) is that actions have consequences. You can't be Tony Stark and pluck a 14 year old superpowered nerd out of obscurity, basically put him in a position to fight alongside one of his idols, and expect him to just give it up willingly when he goes back home. I loved Peter pestering Happy because it felt like one of the most authentically teenage things in the movie.

 

[Jake Lipson]

As much as I would like to see how Peter explains all of this to Aunt May, the next solo Spider-Man film will take place after the conclusion of Avengers 4, and we will be seeing Peter twice more before his next solo outing via the Avengers films, so I highly doubt they would go backwards in time to show us more of May's reaction than we already got. Also, Kevin Feige has already said that the new Spider-Man film will deal with the aftermath of Avengers 4, so I doubt very much that the MCU connection will be minimized.

 

[Sean Bryan]

I just rewatched it this weekend myself.

I enjoyed it more than you, but I kept finding myself wishing that there was much less Tony and Happy and much more high school coming of age stuff.

I get that Sony wanted to get theirs in exchange for letting Marvel use Spidey in Captain America: Civil War and the Avengers movies, and one of the points of the MCU is that "it's all connected."

But I like Spider-Man the most when he's a kid from a lower-middle class background struggling to keep his life together while saving the city. Giving him the safety net of the world's most famous billionaire inventor undermines a lot of what makes you want to root for the character.

Michael Keaton's Vulture is one of the best MCU villains, though, specifically because he's not some homicidal maniac. You understand why he does everything he does.

For the next one, I'd love to see them put the MCU stuff on the backburner, and just tell the story of his junior year of high school.

I agree that the multiple, overt connections to the MCU feel a bit more like a distraction from the real story than an enhancement. I enjoyed this movie quite a bit, but I do feel that putting so much emphasis on the fact that he is in the MCU wasn't a strength.

Spidey belongs in the MCU, but we don't need to be beaten over the head with the fact that he's there. If Marvel had the rights back you can be sure the MCU element would be there but would be much more subtle. However, since part of the reason for Sony making this deal with Marvel is to take advantage of the fact that "their" character is in MARVEL's MCU. So you know that they really wanted that angle pushed hard. Hopefully it will be toned down a bit for the sequel.

That being said, I still think they did a good job with this. Holland is an immensely likeable Peter Parker. Michael Keaton was great and his villainous character had some realistic motivation and depth. The high school setting and lighter tone was a fresh change from what came before. The movie is a critical and financial success. Homecoming is the highest grossing Comic Book/Super Hero movie this year so far beating Guardians 2, Wonder Woman, Logan and likely Thor. So Marvel and Sony must both be quite happy with the result.

For the sequel, I hope to see more interpersonal drama and better, more impressive "Spider-Man style" action. But I also look forward to more of the lighter high school antics as well.

 

[Sean Bryan]

For the next one, maybe they'll begin at the moment this one ends, with May discovering Peter's secret identity. Then they can do a flashback with him telling her how he got to be Spider-Man, and return to the high school setting after that.

I can't imagine that we're never gonna get this Spidey's origin.

I wouldn't mind if the next one was less MCU, but apparently the deal requires Marvel Studios to provide an MCU-leading character to each Sony film, so if that's true, it'll happen again.

But I didn't mind the level of MCU in this movie. One of the things I love about the Marvel movies (and dislike when they're absent from other franchises) is that actions have consequences. You can't be Tony Stark and pluck a 14 year old superpowered nerd out of obscurity, basically put him in a position to fight alongside one of his idols, and expect him to just give it up willingly when he goes back home. I loved Peter pestering Happy because it felt like one of the most authentically teenage things in the movie.

It would be an absolutely ridiculous missed opportunity to not directly follow up on May's discovery and milk that for some good dramatic and emotional arguments between the two. They can lean towards the lighter tone of this new series, but God damn they need to explore some real drama with this situation.

However, I'm wondering how they will structure that into the story? A flash back? A long term, on going debate? A time skip (start there and then jump forward)? I think It'll have to be something other than the story just picking up from that moment since I think their intention is to have each movie be in a different year in school.

And Kevin Feige has said

“The original 22-movie arc ends with the untitled Avengers in May of 2019, and then two months later it will be Peter Parker and Spider-Man that usher us into the aftermath and how things proceed from there,” Feige said.

So per Feige, the next Spider-Man will be the start of the next era of the MCU with a changed status quo after A4. So it doesn't seem like it could take place right after Homecoming. Seems like a year in movie time will have to have passed.

 

[Jake Lipson]

I may have expressed this already when the movie was in theaters (I don't quite remember) but my biggest problem with the film was in the character of Liz and her lack of development. Laura Harrier did a fine job playing her, but wasn't really given anything substantial to do.

The Amazing Spider-Man films never lived up to their title, but one of their strengths was making Gwen a major presence with stakes and significance in the story beyond just being "the girl." People seem to whine about Mary Jane in the original Raimi trilogy a lot for some reason (she never bothered me as much as she does some people), but even though she got saved in every single film, she still had a major role throughout and did more than stand around and be Peter's crush.

Do we still need to do spoiler tags for this movie? As it has been out since July and we are now in the middle of November, I feel like everyone participating in this discussion now has probably seen it, so I'm not going to put spoiler brackets on the next paragraph, but if for some reason you haven't seen it and are still reading 13 pages deep into a thread about it, turn back now.

Compared to these two roles, it felt a little sad that Liz's only function in the film was to be "the love interest" (or "the crush," since they really didn't get very far, did they?) And yes, she is Keaton's daughter too, but that's not something that gives her any individual agency. At the end, I really, really wanted Peter to own up to being Spider-Man and tell her about his role in her dad's arrest and what he had been doing for the whole movie, which very much affected her, but of course they didn't do that, but I feel like it would have made for a stronger film if they had. Peter takes very little responsibility for his actions in this film, which is odd because responsibility is one of the cornerstones of this character.

 

[Jeff Cooper]

So per Feige, the next Spider-Man will be the start of the next era of the MCU with a changed status quo after A4. So it doesn't seem like it could take place right after Homecoming. Seems like a year in movie time will have to have passed.

Well this film itself starts right after Avengers 1, then jumps forward to 'present' time, so there's no reason why the next film couldn't do something similar.

 

[Jake Lipson]

I suspect that if Thanos lays waste to much of the world as we know it and/or kills off a few major Avengers, they might view May's reaction as not as significant in the wake of those events. Also, they never flashed back to the end of the first Iron Man to see what happened immediately after Tony said, "I am Iron Man" and then it cut off. They just went forward.

 

[Adam Lenhardt]

Road to Endgame Revisit #15:
The flashback between the Sony/Columbia Pictures logo and the Marvel Studios logo, set in the weeks immediately following the Battle of New York from the end of The Avengers, introduces the movie's biggest continuity blunder. Spider-Man: Homecoming wanted the kid's drawing of the Avengers, both to set up a major reveal later in the movie and to serve as red herring against that reveal. Toomes's daughter is 17 in 2016, so in order to make her young enough for the drawing to be sufficiently child-like, they introduced an eight year time jump between that opening scene and the rest of the film. The problem is that both that opening scene and the rest of the movie are tied directly into events that are specifically dated. Per the official MCU timeline, The Avengers is set in 2012 and the Battle of New York took place on May 4, 2012. Eight years later would put the remainder of Homecoming in the year 2020, about three years in the future versus when it was released. But the present day action picks up a few days after the airport fight in Captain America: Civil War and, per the official MCU timeline, Civil War is set in 2016. So the time jump, despite the title card, is really four years instead of eight, making Toomes's daughter 13 at the time of that drawing and not actually a very good artist at all.

Using the cellphone video as a way to recap the events of Civil War from Peter's perspective was a great way to briskly get the audience up to speed in an entertaining way. The little details were wonderful, like Peter admitting that it was his first time on an airplane and Happy's growing frustration with babysitting a wide-eyed fifteen-year-old boy.

I love Michael Giacchino's score for this movie. Outside of Alan Silvestri's scores for the Avengers movies and Captain America: The First Avenger, it might be my favorite of the bunch. It wins me over right out of the gate with the big orchestral version of the sixties Spider-Man theme, and has fun the entire way through. Being Spider-Man, even with all of the ups and downs, is really really cool and the music captures that and expresses it. I'm really glad he's coming back for Far From Home.

The brief glimpse of Peter's home life in Civil War pointed to this version of Spider-Man being a significant modernization of Peter Parker's world after the more classic version presented in the Raimi trilogy, which felt kind of old-fashioned and nostalgic even at the time of their release. That continues in this movie with the depiction of Peter's high school. New York City was a pioneer in specialized high schools, but at the time Spider-Man was created the city only had three of them, and none of them were in Queens. Since then that has changed. Given his aptitude for science and engineering, it only makes sense that Peter would test into a magnet school. But it changes the dynamics, because it places him in an environment where everybody is academically gifted. It's a school where everybody is smart, and everybody cares about getting good grades. The reinvention of Flash Thompson flows from that constraint, and reflects the fact that bullying now looks very different than bullying in 1962.

I like the student news broadcasts that punctuate the high school scenes. Their news broadcasts use a multitude of pretty sophisticated techniques, but do not use them in a polished or sophisticated way. I love the wooden monotone with which Betty Brant delivers the news stories. Angourie Rice is probably too much actress for such a tiny role. She looks so exactly like the classic Gwen Stacy from the comics that for a long time I was frustrated that they didn't cast her in that role. But now, after the success of Spider-Verse: Into the Spider-Verse, I'm pretty sure they're going to save Gwen Stacy to be Miles Morales's love interest down the road. And I'm pretty sure they'll go with the Spider-Gwen version of the character, so that Spider-Man and Spider-Woman will coexist during that phase of the MCU.

I really like the depiction of New York City here. It's prettier than the reality, but it still does a better job than the previous Spider-Man movies -- which leaned heavily on the iconic Manhattan landmarks -- to establish and feel rooted in a sense of place. Most of the movie is set in Queens, which means the tall buildings are 10 or 11 stories instead of towering skyscrapers, and most of the urban landscape is four stories or less. The neighborhood deli, with the cat sleeping on the counter, establishes Peter's connection to his community and gives us a place to care about when the illegal weapons do real damage.

The fact of the matter is that modern day New York City is, statistically speaking, pretty darn safe. So I love the sequence set to "Blitzkrieg Bop" with Spider-Man patrolling the neighborhood and not finding any crime to foil. It feels real and grounded. And it provides a motive for Peter to escalate his mission. When the thugs in Avengers masks rob the ATM, their weapons developed from alien technology create a threat that justifies the need for Spider-Man to get involved. And when those weapons destroy the deli across the street, it provides motivation for Peter's subsequent actions; he has seen what these weapons can do, and so knows what a danger they represent to his community.

The movie is at it's strongest when it's focused on Peter Parker, high school student. I love that our protagonist's first major challenge in the movie is going to a party hosted by the girl he likes but assumes is way out of his league.

And the lead in to the subsequent action sequence is delightful: Spider-Man always gets around by using his web shooters to swing from tall building to tall building. I've always wondered what he does when there aren't any tall buildings around. This movie provides a hilarious answer. There's a meta moment that shines a light on this movie's influences, as Spider-Man runs through people's yards and in the background a TV playing Ferris Bueller's Day Off shows Ferris running through people's yards in exactly the same way.

A brief aside about Donald Glover's couple of scenes: The first few times I watched the film, I completely missed the significance of his character. Now, with Into the Spider-Verse somewhat fresh in my mind, it's obvious that Glover's character, identified in the movie as Aaron Davis, is playing Miles Morales's uncle. He even has a line, "I don't want those weapons in this neighborhood. I got a nephew who live here." So somewhere in the MCU, Miles Morales exists.

The first villains we're introduced to are Toomes's street dealers, including the first Shocker. The costume is a nod to the villain's look from the comics, but still feels very organic to being a low-level criminal. The first Shocker is Jackson Brice, adapted from the "Spectacular Spider-Man" animated series from a decade prior. He makes an ill-advised threat that costs him his life. The second Shocker is Herman Schultz, the alter ego most commonly associated with the moniker in the comics. Bokeem Woodbine is terrific as Schultz; he is a criminal, but he's not a monster. He does what he needs to to further his goals, but no more.

Adrian Toomes is in the top-tier of MCU villains, right up there with Loki and just a smidgen below Thanos. The grievance that set him on his path toward criminality is legitimate; yet another unintended consequence of Tony Stark's egotistical belief that he needs to solve all of the world's problems. He is not maniacal, and he doesn't delight in the suffering of others. He is dangerous because the weapons he's putting out into the world are dangerous. But he's not actively evil. He kills exactly one person in the movie, and that's Brice. Even then, it's not his first instinct. He fires Brice because Brice has become a liability. Brice makes the mistake of threatening Toomes's family and basically announces that he's going to be liability moving forward. So Toomes's hand is forced, and when forced he doesn't hesitate. But even then, he thought he was using a nonlethal weapon. It's only after Brice is vaporized that he realizes his mistake. But once he does, he isn't consumed by guilt. Brice was a problem, and now the problem has been dealt with.

The field trip to Washington D.C. for the academic decathlon sets up a classic Spider-Man dilemma, where his responsibilities as Spider-Man directly clash with his responsibilities and desires as Peter Parker. There's a wonderfully melancholy moment where he's sneaking out of the motel where they're all staying to pursue Toomes in Maryland. He bumps into Liz on his way out. She invites him to come swimming with her and some of the other kids. He is forced to decline the invitation, but the movie lingers for a moment with Peter, in costume as Spider-Man, peering down through the glass of the ceiling of the motel's indoor pool, watching his classmates splash around and have fun. Holland's body language conveys how much Peter wants to be down there with him.

By this point, Peter has removed the GPS tracking device in his Stark-provided Spider-Man costume and Ned has disabled the training wheels protocol. This has the effect of basically turning the Spider-Man costume into an Iron Man armor, with Jennifer Connelly as the voice of his JARVIS, Karen. It helps sell this movie as a cohesive part of the larger MCU, and it makes a certain amount of sense given that the suit is a Stark invention. But from a dramatic standpoint, it's underwhelming. Spider-Man works best as a scrappy underdog, When he has the resources of Stark Industries and the Avengers behind him, he's not the scrappy underdog anymore. There are multiple times in this movie where the suit's technology gets him out of situations that would have played way better if he'd gotten out of them himself.

I do love him getting trapped in Damage Control's deep storage vault, though. The "locked in overnight" trope helps bring the superhero element of the movie back into the teen movie framework. Him using the time to learn how to use his more advanced web shooters is smart, and him reprogramming the garage door to open so he can escape (after more than 200 tries!) reinforces his STEM skill set.

The obvious beat would have been to have Peter's team lose the academic decathlon because Peter wasn't there. But they subvert that expectation nicely by having Michele win it for them. Instead the suspense is fueled by the fact that Ned has alien technology in his pocket, Peter has just discovered that that technology is highly explosive when exposed to radiation, and his classmates are in the nation's capital, full of public places with x-ray machines to scan bags. Peter doesn't get there in time to keep the alien technology inactive, but he does get there in time to save the day when the alien technology explodes. The Washington Monument sequence is probably the standout sequence of the movie, showcasing Peter figuring out how to be a Big Damn Hero and then pulling it off with aplomb.

The success of that sequence is contrasted a little later with the sequence on the Staten Island Ferry. The MCU is deliberately more aligned with the real world than the DC Universe's fictional cities, but I'm still fascinated by the differences. One of them is that in the real world, cars been banned from the Staten Island Ferry since 9/11. The newer boats don't even have a place for the cars to go. In the MCU, the Staten Island Ferry continues to allow vehicles to board. Presumably they used one of the older ferry boats as their model, since the plot required vehicles on the ferry boat. Spider-Man's crucial mistake is not letting the Vulture escape when he's trying to flee. Toomes tells him that "you're messing with things you don't understand", and he's absolutely right. One of Toomes's weapons slices the boat right in half, and Spider-Man's solution is only 98 percent effective. In the end, Iron Man has to swoop in and clean up the mess.

Tony is unrelenting to Peter in the aftermath; he has made a lot of mistakes since becoming Iron Man, and he wants to keep this kid from making the same ones. When Peter insists that he only did what he did because Tony wasn't listening, Tony tells him he was listening, and reported the situation to the FBI, which in turn set up the sting on the ferry boat. Tony is so disappointed that he cuts off his support and takes back the fancy Spidey suit.

And when he finally makes it home, Aunt May reads him the riot act. Which makes it a good time to highlight how terrific Marisa Tomei in a significantly different version of a very iconic character. She's a terrific parent, kind and engaged but largely no bullshit. Because she's younger than the usual portrayal of Aunt May (and because Tomei has aged phenomenally well), there's a different energy to her. Men find her desirable. Her way of speaking is much closer to the teenagers' ways of speaking. She knows something serious is going on with Peter, even if she doesn't know what until the final beat before the credits.

With Peter Parker back to being on his own, the movie comes alive again. Disabused of his hopes for "the Stark internship", he refocuses on school and starts to succeed again. His friendship with Ned is revitalized. And he gets to go to Homecoming with the most popular girl in school.

Liz is both the main love interest of the movie, and a key plot device. Giving her the name Liz is deliberate, because it leads the audience to assume she's Liz Allan from the comics. But there's a slight of hand there by the movie: Peter knows her last name is Toomes, but doesn't know the Vulture's identity until very late in the movie. The audience knows that the Vulture is Adrian Toomes, but doesn't know Liz's last name until very late in the movie. Laura Harrier does a lot with a little in that role. A former model, she is beautiful and her Liz is a couple inches taller that Holland's Peter, which sells the early unattainable aspect. But Harrier's performance underpins the character with a type-A personality; she works hard to present so perfect, and she puts a lot of time into doing her best both in her academics and her extracurriculars. Peter stands out as smart even in a school full of smart people, and Liz has noticed that and recognized it.

The car ride to Homecoming is one of the best scenes of any of these movies. As soon as Peter meets Liz's father, he recognizes him from the surveillance video still frame, and acts very weird because of it. But Toomes doesn't have any idea who Peter is until they're all in a car together. Liz's interjections about Peter's past behavior unwittingly give her father the information he needs to put the pieces together. You see the exact moment when Toomes releases that Peter is Spider-Man, when he's sitting at a green light staring at Peter through the rear view mirror. Michael Keaton is great the whole way through, but he's never better than in that car. Their conversation in the high school parking lot is especially illuminating; even though Spider-Man has been a huge thorn in the Vulture's side, he recognizes and appreciates that Spider-Man saved his daughter's life at the Washington Monument and is appropriately grateful. So he gives Peter an out: go into the Homecoming dance, show Liz a good time, and the Vulture won't give him any more problems. But that isn't something that Peter can do.

That in turn provides Ned the opportunity to step up to plate. First, he saves Peter's life using one of Peter's early model web shooters. And then he gets to seize his destiny as Spider-Man's "guy in the chair".

I love that Peter's homemade Spider-Man costume actually looks like something a teenage boy could make. The costume is very reminiscent of Scarlet Spider's costume, except this costume is red on blue rather than the blue on red. And I love him commandeering Flash's parent's car and immediately doing significant damage to it. His line about only having previously driven in parking lots with Aunt May rings true to so many teenagers, and so many adults who were once teenagers. Given that he's a kid from Queens, it's probably unusual that he'd even driven that much.

The confrontation in the Brooklyn warehouse does two very important things. First, it reinforces the fact that the Vulture is a very formidable villain who thinks tactically and isn't afraid to use lethal force. As with the first Shocker, Toomes offered Peter a way out. And as with the first Shocker, Peter didn't take him up on it. So he has no qualms about stopping Peter by any means necessary. second, it reestablishes the fact that being Spider-Man is insanely dangerous. Peter might not die after falling into Toomes's trap, but he is very badly injured.

Which leads to the plane heist, and Vulture's plan to steal from the last major shipment from Avengers tower to the new Avengers facility in upstate New York. By this point, Vulture is all in, and nothing Spider-Man does is going to persuade him. Peter has learned from his mistakes over the course of the films, and had tried desperately to get in touch with Happy Hogan to warn him. His pursuit of the Vulture onto the airplane is his last resort. Their mid-air battle ends up destroying the plane and they crash land (with a little nudge from Peter) along the beach in front of the the Coney Island boardwalk. Cargo containers and parts of the plane are scattered for many yards in either direction. Toomes is enraged and tries to kill Spider-Man. But when he spots a cargo container, he lets his need for revenge go and refocuses on the task at hand. Peter tries to warn him that his suit has suffered too much damage to fly. When he doesn't listen and crash lands on the beach, Peter saves him in spite of the kind of man he had become.

The aftermath takes us back Peter's high school. Liz is moving to Oregon to escape the attention surrounding her father's trial. She calls Peter out on his crap with a directness we hadn't seen from her. He and Happy have a conversation in the school's bathroom -- delightfully undercut by student who beat them to it -- where we see that Peter has finally earned Happy's respect.

After a series of brief scenes scattered through the picture, we learn that Michelle's friends call her MJ and that Michelle is probably serving as the MCU's version of Mary Jane Watson. I love the peculiar, prickly energy Zendaya brings to this role. She craves social interaction, but constantly says things that drive people away. She's intrigued by Peter Parker, but preemptively denies it with such conviction that people actually believe here. I'm excited to see what happens between Peter and this MJ in Far From Home.

Connections to other parts of the MCU: I love those Captain America educational videos, including the ball buster one from the end of the credits. After the physical fitness one in gym class, the phys. ed. teacher's reaction is priceless: "Thank you, Captain. I'm pretty sure this guy's a war criminal now, but whatever, I have to show these videos -- it's required by the state. Let's do it!" The magnet school's principal is played by Kenneth Choi, one of a small handful of actors to play mutiple roles in the MCU. Here, it is explained. Principal Morita has a black and white photo of Jim Morita -- one of the Howling Commandos in Captain America: The First Avenger -- on his desk, so presumably in this Choi is playing the son or grandson of his First Avenger character. This movie also marks the first major appearance of the Avengers tower (replacing the real world Pan Am/Met Life building) since Avengers: Age of Ultron. All of the other movies since Age of Ultron have heavily featured the new Avengers facility upstate, and this one captures the final decommissioning of the tower. The opening scene features Grand Central with the damage inflicted during the Battle of New York. Tony Stark's last scene in the movie introduces the Iron Spider armor that Spider-Man will wear in Infinity War. A later part of that scene repairs the relationship between Tony and Pepper that had been a bit rocky off screen according to Tony in Civil War, Here, Tony proposes to Pepper in front of the full press pool to cover for the fact that they could no longer introduce Spider-Man as the latest official Avenger. Chronologically speaking it is weird movie, as discussed in the first paragraph. The schism introduced in Civil War is still in full force during this movie, but everybody's oddly nonchalant about the fact that half or more of the Avengers are fugitives on the run from the law. The mid-credits scene, in which Toomes opts not to reveal Spider-Man's secret identity, might the the first time something from Marvel Television has flowed through to the film side of the MCU, rather than the other way around. The while jumpsuits for prisoners awaiting trial are taken right out of "Daredevil", where the stylistic choice was used to portray Kingpin in his most famous wardrobe color scheme.

 

[Jake Lipson]

Should somebody update the thread title to the movie title? A couple years late? I mean, we've known it's called Spider-Man: Homecoming for a while.

 

[Sam Favate]

Regarding the incorrect "8 years ago" tag in Homecoming: I'm pretty sure Feige has said that was simply a mistake and it should have said "5 years ago," which would put it in 2012, consistent with the first Avengers movie.

 

[Adam Lenhardt]

Regarding the incorrect "8 years ago" tag in Homecoming: I'm pretty sure Feige has said that was simply a mistake and it should have said "5 years ago," which would put it in 2012, consistent with the first Avengers movie.

This movie takes place in 2016 (same as Civil War) even though it came out in 2017, so it's actually a 4 year canonical time jump. But as discussed above, that causes other issues within this movie, since they picked eight years for a reason.

 

[Wayne_j]

Should somebody update the thread title to the movie title? A couple years late? I mean, we've known it's called Spider-Man: Homecoming for a while.

Done.

 

[Carabimero]

My wife and I just watched this in our countdown to ENDGAME. She had never seen it, as she was out of town when I saw it at the theaters. She thought it was fun, loved that Tony and Pepper are engaged, and thought Spider-Man being cast so young was a great choice.

She doesn't concern herself with industry scoop, so I haven't told her about the announced Spidey and Strange sequels. I think the deaths in Infinity War mean a whole lot more to her not knowing about them. They would to me (even though somewhere she understands you don't kill off cash cows). But if she were in my place I would want her to do the same for me.

It got me thinking about changing the sequence of showing her the final movies. She's seen all the rest of them, so I am thinking of going Ragnorak, Black Panther, Wasp, Captain Marvel, and then Infinity War the same day we see Endgame. My thinking is both Wasp and Marvel should be shown to my wife before Infinity War because 1) she's already seen Infinity War and knows about the snap and disintegration event; 2) so she will understand what is happening at the very end of the Wasp; 3) she will understand Fury's pager at the end of Marvel; and 4) It just seems Infinity War should be the last movie we watch before Endgame. The only reason I would have released Wasp and Marvel between Infinity and Endgame is to do exactly what they did: fill the void of two years, not because the narrative is best served that way.

Anyway, I'm going to change the viewing order methinks.

My wife said something that struck me. She asked me how long each movie took to make. I said two years, maybe a little more.

She replied, "That's forty-four man years, at least. All leading up to one movie."

Yeah. Pretty awesome.

 

[Josh Steinberg]

I’ve monkeyed around with my rewatch order plan as I’ve been going. It’s my first time going through the MCU in something other than production order.

For my phase 3 portion, Guardians 2 came immediately after 1 a while ago. Started with Civil War. Did Black Panther next, since it starts a week after CW ends. Watching Homecoming next; it starts during CW but the bulk takes place months afterward. Then will do Ant-Man and the Wasp since that comes in the aftermath of CW. Doctor Strange next, which connects to Thor Ragnarok at the end. The midcredit scene from Ragnarok leads directly into the opening scene of Infinity War. So that’s what I’m going for. It’s been fun arranging the movies because it works in a bunch of different ways, just depends on what you’re trying to get out of it.

 

[Adam Lenhardt]

My tentative plan for the remainder is:
Doctor Strange, Black Panther, Thor Ragnorak, Ant-Man and the Wasp, Infinity War

I go back and forth on where to slot Ant-Man and the Wasp. On one hand, the vast majority of the movie takes place before Infinity War. On the other hand, the final post-credits scene takes place after Infinity War.

If I end up seeing Captain Marvel again, it will get watched whenever I happen to fit it in.

 

[Greg.K]

I am also trying to figure out the remainder viewing order. Almost finished with Phase 2. Next up for us are Age of Ultron and Ant-Man, followed by Civil War.

After that I am thinking of pairing Homecoming and Into the Spider-verse, which I haven't seen yet, as a Spidey double feature. Then maybe this order: Black Panther, Doctor Strange, Thor: Ragnarok, Infinity War and last but (no pun intended) not least, Ant-Man and the Wasp.

 

[Josh Steinberg]

I go back and forth on where to slot Ant-Man and the Wasp. On one hand, the vast majority of the movie takes place before Infinity War. On the other hand, the final post-credits scene takes place after Infinity War.

Part of my reason for putting it before Infinity War this time is simply the fact that when it came out last summer, I saw it after Infinity War. It's been fun seeing the films in a slightly different order to change it up a little.

One thing I've been enjoying about doing it the way I've been doing it: by doing Spider-Man almost immediately after Civil War, it gives more of a gap between his appearance there (and Tony Stark as well) and in Infinity War.

 

[Wayne_j]

I've been watching everything in release order. Tonight is Civil War.