★★★★★
Spider-Man: Brand New Day is the latest and most bold entry in the series. The film does what few superhero films do: craft a character-driven narrative, making Brand New Day the best Spider-Man film to date.
Destin Daniel Cretton helms the latest film in the iconic web-slinging franchise, making his debut in the Spider-Man universe. Taking a bold leap and making a splash, he manages to direct the best Spider-Man adaptation to date.
Brand New Day takes what made Sam Raimi’s Spider-Man 2 and Spider-Man: No Way Home genuine, relatable, and grounded, then manages to elevate it. Taking things a step further by not only introducing new characters that will set up the future of the MCU, but by doing so the right way: by focusing on developing them as people.
Chris McKenna and Erik Sommers’s script is a huge part of why this film works so well, not only surpassing the Spider-Man films before it, but making it one of the best superhero films to date.
Picking up shortly after the events of No Way Home, they take time to showcase not only Spider-Man through the five years that pass before the film ultimately begins, but Peter Parker as well.
The film takes note of the sacrifice Peter made, but instead of simply trying to force a workaround into the narrative, the script explores the emotional and psychological effects of isolation and his refusal to be connected to humanity from a social standpoint.
“Brand New Day succeeds because it focuses on Peter Parker, not just Spider-Man.”
The film acknowledges the sacrifice Peter made, but rather than forcing a convenient workaround into the narrative, the script explores the emotional and psychological consequences of his isolation and self-imposed disconnection from the people around him.
As seen in the trailers, Peter’s powers continue to evolve, with the underlying cause—much like Spider-Man 2—being rooted in his emotional and mental state. While the film never descends into the darkness of Travis Bickle’s psychological breakdown in Taxi Driver, the parallels are difficult to ignore. Peter’s struggle to control his evolving abilities mirrors his struggle to maintain the humanity that defines him, forcing him to confront who he is beneath the mask.
The utilization of Punisher and Hulk is also fully fleshed out, giving both characters their own personal character arcs. Addressing issues that the solo characters have while intertwining them into the narrative naturally and organically.
While Punisher is a supporting character in the film, there is enough screen time, interaction, and dialogue to suggest that he and Spider-Man have been working side by side in some capacity over the course of the five-year span. With witty banter and moments that build a rapport similar to what he and Daredevil share, though less cynical and more lighthearted.
Whereas Banner’s reintroduction isn’t merely about giving a reason to have Hulk in the movie and connect him to the story, they continue the arc that has always been Banner’s struggle. Utilizing what has been Hulk’s character arc throughout the entire MCU tastefully, without taking away from the core storyline.
Brett Pawlak’s cinematography takes the film to the next level, making it one of the key elements that surpasses No Way Home by a landslide while going toe to toe with Spider-Man 2 and Bill Pope.
Engaging and meaningful cinematography is something that has been lacking in the MCU, and this film demonstrates that. There are so many truly memorable shots in this film that are crisp and vibrant. Pawlak’s cinematography has tone and confidence.
“Where most modern superhero films rely on fast cuts, these action sequences are allowed to breathe.”
The scene in which he is taking down a criminal during the five-year recap section of the film felt like a shoutout to the original Spider-Man game in terms of the choreography and takedown.
However, it was the execution of the shot, the lighting, and the framing that stood out. Simply perfection. A sequence that matches the scene in Spider-Man 2 where Spidey is swinging alongside the elevated train tracks and turns his body sideways to slip through a narrow steel structure.
That shot, and sequences like this one, showcase his agility and speed while utilizing the cinematography to capture beautifully framed images that fully demonstrate his abilities. Where most modern superhero films use fast cuts, these scenes allow the action to be seen in real time and fully absorbed.
There is even a sequence of him merely web-slinging that is captured so delightfully, offering a beautiful shot of the city while paired with a perfectly balanced score.
Michael Giacchino absolutely knocks it out of the park. His brilliance comes not only from the tone and tempo of the score, but from its placement.
The score is lightly used throughout, offering balance without overpowering the film, with moments where it is intentionally lower in volume to accompany scenes subtly, providing a comforting background without competing with the events on screen.
From Sadie Sink, Tom Holland, and Zendaya to Florence Pugh and Jon Bernthal, everyone delivers in this film.
While Holland’s performance in The Odyssey was good, his performance here is one of his best to date. Partly due to the emotional growth of the character from the third film to this one, he is given so much more to work with, and he utilizes every opportunity to demonstrate range and depth.
Sadie Sink has a role that allows her not only to showcase her abilities as an actor, but to portray a character who is complex and layered, allowing her to fully flourish. As rigid as the character she played in The Whale was, I think she shines brighter here and has more opportunity to leverage her abilities.
“Cretton understands that great Marvel films are built on character first and spectacle second.”
Destin Daniel Cretton had a clear vision, one that was flawlessly executed. Being the first in what appears to be a new trilogy, the film establishes a strong foundation.
Now, it goes without saying that Marvel films have become more producer-driven over the last decade, which has made many of them feel more cookie-cutter while giving directors less creative freedom.
Cretton takes those boundaries, whatever they may have been, and works within them. Nevertheless, what he does is not try to make the film something entirely his own, but rather execute what is meant to be part of something bigger. Working within the guidelines to craft something great.
It reminded me of what Brendon said in the documentary Mockbuster. Something along the lines of: if you embrace an Asylum movie and make it with sincerity, energy, and an understanding of the audience, you can end up with something genuinely fun. But if you try to pretend it is a blockbuster or something it is not, the result becomes awkward, ungainly, and ineffective.
That same philosophy applies to Marvel films in a sense, though almost in the opposite way. Many of the newer Marvel films feel hollow compared to the Phase One films because they often feel projected instead of directed.
Marvel productions have become famous for directors leaving over “creative differences,” and I feel that problem is visible in many of the final products.
All of the films serve a higher purpose in the sense of a connected storyline and ongoing narrative. Yet the key detail is that a director does not need to create their own version of what they think the character is.
The director’s job is to craft a film that best captures the character’s essence and arc for that particular chapter or installment of the story.
That is what Cretton does so well here, and what worked so well with Shang-Chi. He focuses not on simply lining up plot points to move the story forward and set up the next chapter.
He focuses on the characters, highlighting and grounding their humanity and making them three-dimensional, not by changing the script or imposing a different vision, but by utilizing the tools at his disposal. The cinematography, the score, and the editing all work together to bring the story to life.
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