‘Spider-Man: Homecoming’ and the Problem With Marvel’s Movie Formula – Daily Beast
It is, almost to a tee, the definition of “fine.”
So it goes for Marvel, which has pioneered a nontoxic house style that’s now mandatory for each entry in its ever-expanding Marvel Cinematic Universe (MCU)—the designation for the countless franchises existing under the studio’s world-building umbrella (overseen by head honcho Kevin Feige). Spider-Man: Homecoming is merely the latest example of Marvel’s adherence to its formula: bright primary hues; brisk banter; rise-fall-rise narrative arcs; predictable dramatic and comedic beats; and special-effects sequences that substitute coherence for zippiness and flash. The result is that, whether it’s Spidey, Iron Man, Thor, Star-Lord or another wisecracking comic-book icon at the center of the action, a Marvel movie looks and sounds more or less the same.
For better and worse, Marvel has now become the leading proponent of what we might call Risk Aversion Cinema—an approach to 21st century blockbusterdom that’s lucrative precisely because of its unadventurousness.
To be fair, some personality does occasionally sneak into the mix—be it Joss Whedon’s conversational volleys in The Avengers, Shane Black’s Christmastime fixation in Iron Man 3, or James Gunn’s smartass, soundtrack-centric humor in Guardians of the Galaxy. Even then, though, such distinctive touches are relatively minor, and often confined to the jokey writing side of things (a state of affairs probably also true of November’s Taika Waititi-helmed Thor: Ragnarok). As with Jon Watts and Spider-Man: Homecoming (and Jon Favreau and Iron Man, and Kenneth Branagh and Thor, and Peyton Reed and Ant-Man, and also Anna Boden and Ryan Fleck and 2019’s Captain Marvel), Marvel hires directors who boast scant auteurist signatures so that all MCU installments will fit together neatly in its larger patchwork quilt. Stylistic anonymity is preferred; assembly-line competence is prized above all else.