Following the universe-shattering events of No Way Home, Peter Parker finds himself in a position he’s never been in before: totally and completely alone. The world has forgotten who he is. His aunt is gone, his friends have moved on, and instead of taking a healthy step like, say, going to therapy, Peter buries his grief into his Spidey duties. Spider-Man has effectively cleaned up the streets of New York, working hand-in-hand with a sharp police detective (a brilliant Liza Colón-Zayas) to dismantle crime syndicates and an array of rogue gallery villains like Scorpion and Tombstone.
In New York City “Spidey Fever” is at an all-time high, the city is completely in love with Spider-Man and his long haul cleaning up the streets as a “small potato” level, but under the mask, Peter is unraveling. The arachnid DNA in his system is mutating and taking over, triggering Hulk-style rages that is bubbling out of the suppressed trauma from the events of the previous film. With noone to talk to and really nowhere to turn, these outbreaks get worse and risk endangering the lives of innocent people. Things come to a head when a new villain comes into town and inevitably pulls MJ and Ned back into his orbit, Peter is forced to confront the ultimate dilemma: protect them from afar, or risk everything to tell them who he really is.
With Destin Daniel Cretton (Shang-Chi) stepping into the director’s chair, Spider-Man: Brand New Day isn’t just a great comic book film, it’s the most atmospheric, New York-centric Spider-Man entry since Sam Raimi’s Spider-Man 2. The city feels alive, with real footage shots, skyscrapers, hot dog vendoes, parks and atmosphere. Cretton’s smartest move was letting the city breathe. The film shows off NYC in the splashiest, most authentic way imaginable. From local bodegas and bustling parks to neighborhood eateries and warm local interactions, the movie wraps you in a vibrant, tactile vibe that makes you want to book a flight immediately.
Beyond the atmosphere, the film nails the fundamental core of the duology of this classic comic book character: understanding who Spider-Man is, who Peter Parker is, and how those two identities fight for control inside one body. We’ve seen growing pains in this franchise before, but this time it hits differently. The absolute loss of his support system manifests as an uncontrollable rage, making his body’s horrific physical changes a physical reflection of his internal grief, as much as Peter is convinced that he can control this rage and inhibit the effect it has, like all unresolved rage, it has no control.
While Holland has been undeniably great in every Spider-Man film, he really is working on another level here, Holland delivers his finest performance in the suit to date. The glibness that occasionally undermined previous entries (and the wider MCU) is definitely dialed back in this film. This is a less puppyish, battle-hardened Peter, bruised by loss and solitude. The story leans into a body-horror, powers-as-puberty analogy, a sort of “arachnid bar mitzvah”, marking Peter’s painful transition into full adulthood where he is no longer shielded by Iron Man or the Avengers.
Matching him step for step is Zendaya, who acts as the absolute beating heart of the film. Her interpretation of MJ has evolved far beyond a typical love interest. She carries a haunting, persistent longing, a feeling that something crucial is missing from her life, yet her character never feels incomplete without Peter. The natural chemistry between Holland and Zendaya makes their shared scenes the standout dramatic high points of the movie.
Because this is an MCU entry, Peter naturally gets an assist from a few heavy hitters, with mixed results. On one hand, Frank Castle/The Punisher is integrated seamlessly. His complicated relationship with Peter works brilliantly; they constantly collide while fighting the same street-level battles, allowing Spidey’s innate optimism to clash against Frank’s gruff, lethal exterior. On the other hand, Bruce Banner’s inclusion feels a bit more forced. While using Banner to help Peter control his inner monster makes narrative sense, the film drags whenever the Hulk shows up. In a story this grounded, the Hulk smashes the narrative pacing of an already hefty 2.5-hour runtime. Peter is more famous than these heroes now; he doesn’t need the MCU training wheels anymore.
Luckily, the film’s actual primary antagonist, a spooky, psychologically terrifying presence best left unspoilered, delivers true freaky horror. Great supporting turns from Tramell Tillman (Severance), who elevates every frame he’s in, and Sadie Sink keep the ensemble tight and engaging.
When it comes to set pieces, Cretton delivers some of the best action in modern superhero cinema. Swinging through skyscraper canyons, high-speed vehicle collisions alongside The Punisher, and brutal hand-to-hand brawls are captured with kinetic, creative camera angles that showcase Holland’s incredible background as an acrobat and dancer. In a subgenre plagued by mushy CGI, the reliance on practical stunts and heavy physical choreography makes the film feel wonderfully real and grounded.
Spider-Man: Brand New Day never loses focus on the guy behind the mask. Spider-Man is always at his absolute best when he’s doing friendly neighborhood business, and when this film locks into that frequency, it serves as a powerful reminder of why Peter Parker remains Marvel’s ultimate superhero. Giving this franchise a new director and bold new direction, Spider-Man Brand New Day solidifies itself as being the best Spider-Man film ever made.
Spider-Man : Brand New Day is in cinemas Thursday July 30.
