As a witness of the era of modern superhero movies, Spider-Man on the big screen has also epitomized the whole industry: from Sam Remy to Mark Webb, from Toby Maguire to Andrew Garfield, the red tights have changed and changed, and Spider has gradually become a part of the commercialization wave, losing its independence and autonomy, Passively follow the trend of the times. Sam Remy’s first two Spider-Man films at the beginning of the 21st century are both fresh and exciting, but the third one, like X-Men 3, has become an overcrowded and lack of carving screen disaster. Five years later, the “extraordinary” was restarted, and the visual effects of handsome men and beautiful women, like MTV, greatly reduced the credibility of the story and characters, while the amazing ambition revealed in the second part completely exploded before it was born. Until Captain America 3. Despite the airport war, the whole film “Double Couplet 2.5” is not more convincing than “Dawn of Justice”, but in the most outstanding action drama in this modern superhero movie, Tom Hurland’s Spider-Man shows a real potential. “Spider-Man: The Return of Heroes”, created by Joe Watts, director of “The Dead Police Car”, not only ushered in the new hope of Spider-Man, but also opened the new future of Marvel universe. In the recent Marvel films, we can clearly see the signs of fatigue in the Disney – Marvel system. From “Ant Man” to “Avengers Alliance 2” to “Galactic Guard 2”, excellent special effects can hardly cover up the lack of narrative and the exhaustion of creativity. Spider-Man: The Return of Heroes is the first time that Marvel Movie Universe has tried to cooperate with other studios, and also presents some valuable changes. We can even say that the part of Spider-Man: The Return of Heroes that belongs to Marvel, such as the promotional film of Captain America, such as the return of the Iron Triangle of the old driver of Stark Pepper (nearly became “Iron Man 4: Spider-Man”), is a clich é, but the part of Spider-Man is more fresh, pleasant, satisfying and more complete. Spider-Man: The Return of Heroes is one of the few works that fully retain the director’s characteristics in the whole Marvel film system, which is enough to keep pace with Captain America 2. We can see that Joe Watts’ design and understanding, as well as his excellent skills in characterization – the attitude of teenagers, the reaction of adults in extreme environments, and the changes of two age groups when they collide – have been retained in Spider Man: The Return of Heroes. Like the future independent film Batman, Spider-Man: The Return of Heroes wisely cuts out the original story, and through the control of the plot and atmosphere, the characters do not feel alienated. After all, this is the third Spider-Man in 15 years. Instead of murdering Uncle Ben again, why not explore some of the great adventures we haven’t seen before?
In the recent period, one of the main problems faced by Marvel’s movie universe is that it is difficult to deal with the balance between independent films and linkage films. How much space is used to tell the protagonist’s own story, how much space is used to expand the universe’s story, and how much space is used to imply the future adventure of the protagonist. This is the biggest problem of Captain America 3: when independent films are added to a hotpot of other superhero characters in order to cater to the audience, this makes the film lose its own meaning of existence, and it is no longer like its own film works. The only purpose is to throw more chaos and future eggs at the insatiable audience. In contrast, the relative independence shown in Spider-Man: The Return of Heroes is commendable, and the future “Panther” also has a similar trend. Spider Man: The Return of Heroes still exists in the framework of Marvel Universe, but the script written by three groups of six writers carefully builds a bridge between the two, taking Peter Parker’s personal growth as a priority, rather than cold commercialism. Although the existence of Robert Downey Jr. and Michael Keaton is dazzling, their appearances are not many, making Peter Parker the absolute core. The former is not so much the image of a mentor as the mascot of the couplet, while the latter is one of the most successful villains in the whole Marvel universe. Just because of the villains, Spider-Man: The Return of Heroes has surpassed most of the Marvel films: this role has been endowed with considerable depth, human nature and morality are vague, and the working class’s resistance to the elite class, This is a good extension of Marvel’s films in the post-Captain America 3 era. We can clearly see the devastating impact of “Reunion” and its major events on the world. Most of the appeal of Spider-Man: The Return of Heroes comes from Tom Hurland’s performance. Peter Parker, a younger man, has a blinding six-pack abdominal muscle and has lost Toby Maguire’s style of being a loser and nerd, but Tom Hurland’s performance is undoubtedly more energetic and more close to modern character design – unlike the personality split that often occurs in the previous two Spider-Mans, Tom Hurland’s Spider-Man is a natural extension of Peter Parker’s personality, This makes his character and mouth seem particularly natural and reasonable. And this version of Spider-Man is no longer a god block to kill the god and Buddha block to kill the Buddha. As a novice superhero, he makes constant mistakes, and also has the same ignorant emotion as ordinary teenagers, which makes the role more credible. But the disadvantages of Spider-Man: The Return of Heroes are as obvious as the advantages. The $175 million investment only brought in two daytime scenes, and the main duel with the vulture was a mess. The film inherits the consistent masculinism of Marvel’s film universe, and the three main female characters are all marginalized: Marissa Tome’s MILF version of Aunt May has been incomprehensible from the beginning of exposure – why should we make the family and maternal symbol become the same image as the sexual enlightenment? Compared with two young actors of the same age, the chemical reaction between Tom Hurland and Marissa Tome is obviously more sufficient, but this does not offset the inappropriate image design. Zandaya’s MJ (unmistakable) is completely humanized, and Laura Herrell’s anti-guest name of the female number one vase is unacceptable. Another important problem with character design is Disney’s increasingly rampant political correctness: the practice of placing ethnic minorities in supporting role has reached the level of insanity, and Jacob Bartalon’s Asian geek base friend has further weakened Spider Man’s ability. It seems that Peter Parker became a superhero by relying on Iron Man’s battle clothes and base friend’s technology – what about the good poor relying on mutation and the rich relying on technology? MJ and Liz are both of African descent, not to mention the human background of high school students. Is this setting necessary? Obviously not, because it has not played any role in promoting the story. Is this a reflection of reality? Obviously not, the exaggerated racial proportion in the film is obviously not representative of the society, and the character design is still not free from stereotype stereotype. We still have to say that political correctness should never be a problem, but the problem always arises in guiding artistic creation with political correctness.
In general, although Spider-Man: The Return of Heroes has various problems, it has also achieved creative success while fully catering to the needs of the public. The duration of two hours is not too long. The practice of always focusing on Peter Parker’s personal growth has also yielded good results. The relationship with the whole movie universe is also very smart. Compared with other Marvel blockbusters, the action part avoids flashy design and is easier to understand. From the current tangled copyright relationship between Sony and Marvel, it is hard to say how far Tom Hurland’s Spider-Man can go. But for this work, Spider-Man has finally survived the downturn, which is obviously much luckier than the “Magic Four” which can’t rise again next door.