spiderman 3 movie reviews

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Parents' guide to, spider-man 3.

• Common Sense Says
• Parents Say 35 Reviews
• Kids Say 185 Reviews

Common Sense Media Review

Kids will be dazzled, but the story falls short of No. 2.

Parents Need to Know

Parents need to know that, like its two predecessors, Spider-Man 3 is a comic book-based movie that features lots of action and superhero-style violence. In this installment, a mysterious black goo makes Peter/Spider-Man significantly more aggressive, arrogant, and combative -- even toward his friends --…

Why Age 11+?

Long, nail-biting sequences of superhero action/violence, including Harry attack

Tie-in to vast quantities of related merchandise.

Harry drinks on several occasions and at one point chugs hard liquor. Peter is s

Expletives like "damn" and "ass." A few taunts like "chump" and "nerd."

Various characters kiss; one romantic dance between Peter and Gwen.

Any Positive Content?

Several characters realize that it's never too late to stop making self-destruct

A mysterious black goo makes Peter/Spidey significantly more aggressive, arrogan

Parents need to know that, like its two predecessors, Spider-Man 3 is a comic book-based movie that features lots of action and superhero-style violence. In this installment, a mysterious black goo makes Peter/Spider-Man significantly more aggressive, arrogant, and combative -- even toward his friends -- which could confuse little kids who have clear ideas about their hero. His negative behavior culminates in him physically harming two people he loves (naturally, he redeems himself by the end). Thanks to the enormous amount of Spidey merchandise and marketing, younger children may want to see this movie -- but know that the action might be too intense for the early-elementary set. ( Spoiler Alert : Two characters die during the climactic battle sequence.)

To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Violence & Scariness

Long, nail-biting sequences of superhero action/violence, including Harry attacking Spider-Man in an impressive airborne fight. Blood is visible on a wounded character's shirt and face and also on a dagger. A couple of major characters are killed, and someone's face is disfigured in a fight. Peter shockingly strikes someone he loves.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Harry drinks on several occasions and at one point chugs hard liquor. Peter is served champagne at a restaurant. Diners drink alcohol at a jazz lounge.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Positive Messages

Several characters realize that it's never too late to stop making self-destructive choices. Strong themes of redemption and loyalty. Only one character stays selfish throughout the entire film.

Positive Role Models

A mysterious black goo makes Peter/Spidey significantly more aggressive, arrogant, and combative -- even toward his friends. His negative behavior culminates in him physically harming two people he loves, but he ultimately redeems himself. Two more villains are introduced: Daily Bugle photographer Eddie Brock transforms into Venom, and prison escapee Flint Marko morphs into the Sandman. But Sandman, unlike Venom, has a heart -- he just wants money to save his sick little girl.

Where to Watch

Videos and photos.

Parent and Kid Reviews

• Parents say (35)
• Kids say (185)

Based on 35 parent reviews

What's the Story?

In SPIDER-MAN 3, Peter ( Tobey Maguire ) and Mary Jane ( Kirsten Dunst ) are finally together, and things seem idyllic until Harry ( James Franco ) attacks Spider-Man in an impressive airborne fight. Harry is nearly felled; when he regains consciousness, he can't remember that Peter is his archenemy. But Spidey's problems are far from over. Parasitic black ooze attaches itself to Peter and creates a black Spider-Man suit that exaggerates the webcrawler's aggressiveness, hostility, and even attraction to the opposite sex. His ego swells and he flirts with smitten classmate Gwen ( Bryce Dallas Howard ) to make MJ jealous. Peter's newly discovered dark side drives Mary Jane away and inspires self-absorbed Daily Bugle photographer Eddie Brock ( Topher Grace ) to capture Spidey's bad behavior on camera. When the steroid-like goo lands on Eddie, he transforms into Venom, the film's second super-nemesis. The third villain this time around is prison escapee Flint Marko ( Thomas Haden Church ), who morphs into the Sandman in a technically remarkable scene. Sandman, unlike Venom, has a heart. He just wants money to save his sick little girl -- if only Spidey would get out of his way. An alliance between Sandman and Venom leads to a climactic four-way battle scene set along the Manhattan skyline.

Is It Any Good?

People who see superhero movies just for thrills and chills will find plenty of reasons to love this sequel . But fans seeking Spider-Man 2 's unforgettable combination of action, story, and heart will be disappointed in the franchise's third installment.

There's now no doubt that Spider-Man 2 's emotional depth must have been prolific author/comic-book lover Michael Chabon 's contribution to the screenplay. The latest script -- co-written by director Sam Raimi , his brother Ivan Raimi, and Alvin Sargent -- just doesn't match its predecessor's level of excitement and romance. But while the action is striking, with all the sand blowing, web flinging, and characters flying, all the CGI wonders can't save Spider-Man 3 's overlong, underdeveloped story from falling a bit short of super.

Talk to Your Kids About ...

Families can talk about the Spider-Man movie series. Which of these larger-than-life films do you consider the best? What's more important in superhero movies -- the action or the story?

Families can also discuss the movie's major themes: character transformation, revenge, and redemption. Which characters experience the biggest changes? Do they change for better or for worse? How can you tell?

How does seeking revenge prove futile for both Harry and Peter?

Movie Details

• In theaters : May 3, 2007
• On DVD or streaming : October 30, 2007
• Cast : James Franco , Kirsten Dunst , Tobey Maguire
• Director : Sam Raimi
• Inclusion Information : Female actors
• Studio : Columbia Tristar
• Genre : Action/Adventure
• Topics : Magic and Fantasy , Superheroes , Adventures , Book Characters , Great Boy Role Models , Science and Nature
• Run time : 140 minutes
• MPAA rating : PG-13
• MPAA explanation : sequences of intense action violence.
• Last updated : September 17, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

What to watch next.

Spider-Man 2

Superman Returns

Batman Begins

Best action movies for kids, best superhero movies for kids, related topics.

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Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

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Spider-Man: No Way Home

Where to watch.

Rent Spider-Man: No Way Home on Fandango at Home, Prime Video, Apple TV, or buy it on Fandango at Home, Prime Video.

What to Know

A bigger, bolder Spider-Man sequel, No Way Home expands the franchise's scope and stakes without losing sight of its humor and heart.

Packed with action, emotion, and surprises, Spider-Man: No Way Home is franchise fan service at its finest.

Critics Reviews

Audience reviews, cast & crew.

Tom Holland

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Spider-Man: No Way Home

With Spider-Man's identity now revealed, Peter asks Doctor Strange for help. When a spell goes wrong, dangerous foes from other worlds start to appear. With Spider-Man's identity now revealed, Peter asks Doctor Strange for help. When a spell goes wrong, dangerous foes from other worlds start to appear. With Spider-Man's identity now revealed, Peter asks Doctor Strange for help. When a spell goes wrong, dangerous foes from other worlds start to appear.

• Chris McKenna
• Erik Sommers
• Tom Holland
• Benedict Cumberbatch
• 6.1K User reviews
• 441 Critic reviews
• 71 Metascore
• 35 wins & 71 nominations total

Top cast 99+

• Peter Parker …

• Doctor Strange

• Happy Hogan

• Max Dillon …

• Norman Osborn …

• Dr. Otto Octavius …

• Flash Thompson

• Betty Brant

• Agent Cleary

• MIT Assistant Vice Chancellor

• Coach Wilson

• Mr. Harrington
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Benedict Cumberbatch admitted to not reading the full script, wanting to surprise himself with the final product.
• Goofs (at around 13 mins) When Peter goes back to his high school and walks up the stairs, there is a mural behind him. Part of the mural contains a chemical structure, however, one of the carbons has five bonds. This is impossible as carbons cannot exceed four bonds.

Matt Murdock : You may have dodged your legal troubles but things will get much worse. There's still the court of public opinion.

[Matt catches a brick thrown through the window]

Peter Parker : How did you just do that?

Matt Murdock : I'm a really good lawyer.

• Crazy credits SPOILER: There is a scene in the closing credits: Eddie Brock and Venom from the Sony Pictures Universe of Marvel Characters are talking with a bartender. When the multiverse is restored, Brock and Venom are re-transported back to their universe, leaving a bit of symbiote behind.
• an introduction by Holland, Maguire, and Garfield
• additional scenes of Parker and May being interrogated by the Department of Damage Control
• the scene with Holland's brother Harry as a thief that was cut from the original release
• additional scenes of Parker at school; Brant interviewing Parker, his teachers, and his classmates
• Daily Bugle reports of Parker's first day back at school and the arrivals of Dillon and Marko
• additional scenes in the basement of the New York Sanctum
• a scene featuring May, Parker, and the villains in an elevator while on the way to Hogan's apartment
• an additional scene with Murdock and Hogan
• additional scenes of the three Parkers
• new post-credits scene of showing how Peter Parker has been erased from history in a new edition of "Betty's Corner with Betty Brant" begins playing that recaps their high school years with all the footage and pictures missing Peter.
• Connections Edited from Spider-Man 3 (2007)
• Soundtracks I Zimbra Written by David Byrne and Brian Eno Performed by Talking Heads Courtesy of Sire Records By arrangement with Warner Music Group Film & TV Licensing

User reviews 6.1K

They did it a spider-man trilogy finally stuck the landing.

• Dec 16, 2021
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• December 17, 2021 (United States)
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• $200,000,000 (estimated)
• $814,866,759
• $260,138,569
• Dec 19, 2021
• $1,952,723,719
• Runtime 2 hours 28 minutes
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Spider-Man: No Way Home

The best of "Spider-Man: No Way Home" reminded me why I used to love comic books, especially the ones about a boy named Peter Parker. There was a playful unpredictability to them that has often been missing from modern superhero movies, which feel so precisely calculated. Yes, of course, "No Way Home" is incredibly calculated, a way to make more headlines after killing off so many of its event characters in Phase 3, but it's also a film that's often bursting with creative joy.

Director Jon Watts and his team have delivered a true event movie, a double-sized crossover issue of a comic book that the young me would have waited in line to read first, excitedly turning every page with breathless anticipation of the next twist and turn. And yet they generally avoid getting weighed down by the expectations fans have for this film, somehow sidestepping the cluttered traps of other crowded part threes. "No Way Home" is crowded, but it's also surprisingly spry, inventive, and just purely entertaining, leading to a final act that not only earns its emotions but pays off some of the ones you may have about this character that you forgot.

Note: I will very carefully avoid spoilers but stay offline until you see it because there are going to be landmines on social media.

"No Way Home" picks up immediately after the end of "Spider-Man: Far From Home," with the sound of that film's closing scene playing over the Marvel logo. Mysterio has revealed the identity of the man in the red tights, which means nothing will ever be the same for Peter Parker ( Tom Holland ). With an almost slapstick energy, "No Way Home" opens with a series of scenes about the pitfalls of super-fame, particularly how it impacts Peter's girlfriend M.J. (Zendaya) and best bud Ned ( Jacob Batalon ). It reaches a peak when M.I.T. denies all three of them admission, citing the controversy about Peter's identity and the roles his buddies played in his super-adventures.

Peter has a plan. The "wizard" he met when he saved half the population with The Avengers can cast a spell and make it all go away. So he asks Dr. Strange ( Benedict Cumberbatch ) to make the world forget that Spider-Man is Peter Parker, which, of course, immediately backfires. He doesn't want M.J. or Ned or Aunt May ( Marisa Tomei ) to forget everything they've been through together, and so the spell gets derailed in the middle of it. Strange barely gets it under control. And then Doc Ock ( Alfred Molina ) and the Green Goblin ( Willem Dafoe ) show up.

As the previews have revealed, "Spider-Man: No Way Home" weaves characters and mythology from the other cinematic iterations of this character into the universe of the current one, but I'm happy to report that it's more than a casting gimmick. My concern going in was that this would merely be a case of " Batman Forever " or even " Spider-Man 3 ," where more was often the enemy of good. It's not. The villains that return from the Sam Raimi and Marc Webb films don't overcrowd the narrative as much as they speak to a theme that emerges in the film that ties this entire series back to the other ones. For a generation, the line about Spidey was "With great power comes great responsibility." "Spider-Man: No Way Home" is about the modern Peter Parker learning what that means. (It also helps a great deal to have actors like Molina and Dafoe in villain roles again given how the lack of memorable villains has been a problem in the MCU.)

So many modern superhero movies have confronted what it means to be a superhero, but this is the first time it's really been foregrounded in the current run of Peter Parker, which turns "No Way Home" into something of a graduation story. It's the one in which Parker has to grow up and deal with not just the fame that comes with Spider-Man but how his decisions will have more impact than most kids planning to go to college. It asks some interesting questions about empathy as Peter is put in a position to basically try to save the men who tried to kill other multiverse iterations of him. And it playfully becomes a commentary on correcting mistakes of the past not just in the life of Holland's Parker but those of characters (and even filmmakers) made long before he stepped into the role. "No way Home" is about the weight of heroic decisions. Even the right ones mean you may not be able to go home again.

Watts hasn't gotten enough credit in his other two Spider-Man movies for his action and "No Way Home" should correct that. There are two major sequences—a stunner in a mirror dimension in which Spidey fights Strange, and the climactic one—but it's also filled with expertly rendered minor action beats throughout. There's a fluidity to the action here that's underrated as Mauro Fiore 's camera swoops and dives with Spider-Man. And the big final showdown doesn't succumb to the common over-done hollowness of MCU climaxes because it has undeniable emotional weight. I also want to note that Michael Giacchino 's score here is one of the best in the MCU, by far. It's one of the few themes in the entire cinematic universe that feels heroic.

With so much to love about "No Way Home," the only shame is that it's not a bit more tightly presented. There's no reason for this movie to be 148 minutes, especially given how much the first half has a habit of repeating its themes and plot points. Watts (and the MCU in general) has a habit of over-explaining things and there's a sharper version of "No Way Home" that trusts its audience a bit more, allowing them to unpack the themes that these characters have a habit of explicitly stating. And, no offense to Batalon, turning Ned into a major character baffles me a bit. He always feels like a distraction from what really works here. On the other hand, this is the first of these three films that has allowed Zendaya and Holland's chemistry to shine. In particular, she nails the emotional final beats of her character in a way that adds weight to a film that can feel a bit airy in terms of performance.

"Spider-Man: No Way Home" could have just been a greatest hits, a way to pull different projects into the same IP just because the producers can. Some will see it that way just on premise alone, but there's more going on here than the previews would have you believe. It's about what historic heroes and villains mean to us in the first place—why we care so much and what we consider a victory over evil. More than any movie in the MCU that I can remember, it made me want to dig out my old box of Spider-Man comic books. That's a heroic accomplishment.

In theaters on December 17 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

• Tom Holland as Peter Parker / Spider-Man
• Zendaya as Michelle 'MJ' Jones
• Benedict Cumberbatch as Stephen Strange / Doctor Strange
• Jon Favreau as Harold 'Happy' Hogan
• Jacob Batalon as Ned Leeds
• Marisa Tomei as May Parker
• Alfred Molina as Otto Octavius / Doctor Octopus
• Jamie Foxx as Max Dillon / Electro
• Willem Dafoe as Norman Osborn / Green Goblin
• Tony Revolori as Eugene 'Flash' Thompson
• Angourie Rice as Betty Brant
• Martin Starr as Mr. Harrington
• Hannibal Buress as Coach Wilson
• J.B. Smoove as Mr. Dell
• J.K. Simmons as J. Jonah Jameson
• Benedict Wong as Wong
• Chris McKenna
• Erik Sommers

Cinematographer

• Mauro Fiore
• Michael Giacchino

Writer (based on the Marvel comic book by)

• Steve Ditko

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Spider-Man 3 Review

04 May 2007

139 minutes

Spider-Man 3

Think of a great movie trilogy. Chances are you’ve come up with Star Wars (originals, of course). Or the Wishmaster flicks. Now think of a great comic-book movie trilogy. Chances are you’ve thought of... bugger all.

When it comes to completing a trilogy, superhero movies have been generally bobbins. The ideal trilogy closer should augment existing themes and visual motifs, while introducing new characters that drive the story to unexplored heights. Comic-book movies have tended to translate this as ‘more explosions’; ‘bigger nipples’; ‘hire Brett Ratner’, or ‘Richard Pryor — on skis!’

The Spider-Man franchise had all the potential in the world to become that great trilogy: with Sam Raimi at the helm the first two films triumphed at the box office and, more importantly, were crackers. So it’s a shame to report that, while Spider-Man 3 is a consistently enjoyable start to the summer silly season, it more pings off the post than completes the hat-trick.

One of Raimi’s most admirable traits throughout the series to date has been his refusal to pit his protagonist against multiple villains, thus avoiding the unfocused fate of, say, Batman Forever, in which the title character essentially cameoed in his own movie. In Spider-Man 3, however, Raimi breaks his own rules, racking up not one, not two, but THREE different nemeses (four, if you count the enemy within) for our friendly neighbourhood whatsit to contend with. And while the broth isn’t spoiled by the presence of too many cooks — there's too much giddy entertainment here for that — it sure tasted a lot better with just a spider in our soup.

Multiple villains can be done, of course, as shown in Chris Nolan’s Batman Begins. But where Nolan had his bad guys simply show up, bringing little-to-no back-story, Raimi has always insisted that his villains should have an arc. Great thinking when there’s only one — bit of a problem when there’s three. Huge problem when Raimi is also determined that the focus not move away from Maguire’s Peter Parker/Spider-Man. And so an otherwise smart and engaging movie becomes bloated as a result.

To wit, it’s well-known by now that the movie’s central conceit sees Spider-Man don a black suit that, being an alien parasite, begins to exert an evil influence over him. It’s the catalyst for many of the climactic events, including the birth of Venom, but it takes so long for Raimi to establish the threads of the plot — from the creation of Sandman; to several contrived love triangles involving Peter, M. J., Harry, and Bryce Dallas Howard’s Gwen Stacy; to Harry’s thirst for revenge; to the origin of the alien suit — that it takes over an hour for Parker to even think of pulling on the black duds. It’s clear that something has gone askew during the planning stages.

That ‘something’ was, pure and simple, the decision to go with both Sandman and Venom as Spider-menaces. Apparently included because he’s a favourite of both Maguire and Raimi, Sandman is given a back-story that ties him to events in the first Spider-Man movie, but it’s an unnecessary complication. Fine actor though he is, even Thomas Haden Church struggles with the flimsy material he’s given. That’s when he’s actually on screen — most of the time it’s his enlarged, motion-captured CG self, bellowing in rage in sequences all too reminiscent of the sand FX in the Mummy movies.

Venom, meanwhile, is a mixed bag. Raimi has never been a fan of the alien symbiote, created when Spidey ditches the black substance and it latches onto a murderous Eddie Brock, and by his own admission had to be persuaded to include the character. Still, given the ‘dark Spidey’ storyline, Venom makes sense thematically and structurally: Eddie is what Peter might have been if the coin had landed tails. But because Brock’s screen time is so negligible (he’s introduced about 30 minutes in, almost as an afterthought), his murderous motivations seem forced. When Venom is finally created, in the third act, the drooling monster may be impressive visually, but lacks personality and, crucially for a creature that possesses the enhanced powers of Spider-Man, true menace. It’s almost as if Raimi was unable to withhold his disdain for the character.

Sadly, the gruesome twosome take some of the shine off Harry Osborn, as his vengeful New Goblin targets Peter physically and emotionally. James Franco’s complex and charismatic turn makes Harry into Spidey’s most interesting villain to date. With the benefit of an extended back-story, the two confrontations between Peter and Harry have an emotional undercurrent lacking from the battles with Sandman and Venom, and are easily the best of the movie’s many extended action sequences (we counted six). There’s nothing, however, that even comes close to the Doc Ock-Spidey train battle in Spider-Man 2, despite a budget reportedly north of $250 million, and sadly the final four-way showdown on a construction site comes dangerously close to being both familiar (oh look, it’s Mary Jane, screaming for her life. Again) and unintentionally hilarious (two words: British reporter).

Yet there is plenty to like about Spider-Man 3, and not a little to love. Commendably, Raimi develops his themes (the corruption of power; the burden of choice; is black really slimming?), applies them diligently to nearly every character, and pursues them to the bitter end. And despite such deadly earnestness, Spider-Man 3 can be very funny, with Bruce Campbell and J. K. Simmons — as blustering Daily Bugle editor and refugee from ’40s screwball comedies J. Jonah Jameson — showing Topher Grace and Haden Church how to make an impact with limited screen time.

While Raimi takes his time getting there, the exploration of Peter’s unleashed id sends the character into unexpectedly mature territory, as his relationship with Mary Jane comes under immense strain. Yes, the dialogue really ought to appear in bubbles over the actors’ heads, but there’s a genuine emotional intensity here, with one scene on a bridge proving particularly painful. Maguire, in particular, carries the film: more convincing now at the heroic stuff, he also clearly relishes Peter’s descent into hell, skilfully turning Spider-Man into a sleazeball while still making him sympathetic. It’s a good showing for what is probably his Spider-Man swansong.

Though there will be a Spider-Man 4, this outing is also likely to be Raimi’s last swing. If he doesn’t hit the heights this time around —  his impish visual sense feels a little boxed in by a need to keep the dense plot on track  — it’s not for a lack of ambition. In fact, anything but, and that should always be applauded. But for the love of God, just one bad guy next time, please?

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Movies | 26 10 2021

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‘spider-man: no way home’: film review.

Tom Holland’s webslinger fights a bunch of familiar faces in Jon Watts’ third outing as Spider-director.

By John DeFore

John DeFore

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The heroes who went clobberin’ through the pages of Marvel Comics in the 1980s were still relative kids when the mythology over at rival publisher DC started creaking under its own weight. Superman and Batman had started fighting crime in the late ’30s, for Pete’s sake, and the many iterations of their stories, not to mention those of less revered characters, had piled up in confusing or contradictory ways. The solution was a series called Crisis on Infinite Earths , envisioning a collision of alternate realities in which some characters died, others had their stories straightened out, and many (though far from all) overly literal fanboys were allowed to stop fretting if next month’s adventure contradicted one they read 15 years ago.

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That influential series solved some obvious problems. By contrast, one might wonder what issues are being fixed in Jon Watts’ Spider-Man: No Way Home , where Spidey and Doctor Strange open a rift between parallel dimensions, forcing Tom Holland ’s Spider-Man to face villains who starred in movies opposite Tobey Maguire’s and Andrew Garfield’s versions of the character.

Spider-Man: No Way Home

Release date: December 17 Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Marisa Tomei Director: Jon Watts Screenwriters: Chris McKenna, Erik Sommers

Was the problem “there’s not enough fan service in Marvel movies”? Certainly, this outing is a textbook example of that phenomenon, in which little moments of pandering (be the moments loving or cynical) make inside jokes, throw in gratuitous cameos, or bring intergalactic bounty hunters back to life because there just aren’t enough Star Wars products out there yet for Disney to sell.

Some of the fan service plays fairly well here; some is unsubtle enough you expect an actor to look into the camera and wink at you after delivering his line. But in the end, No Way Home does use its multiversal mayhem to address the only real problem with the Holland-era web-slinger: the Iron Man-ification of the character, in which his already amazing powers keep getting overshadowed by the gadgets given to him by billionaire jerk-hero Tony Stark. This is the least fun of the Watts/Holland pictures by a wide margin (intentionally so, to some extent), but it’s a hell of a lot better than the last Spidey threequel, Sam Raimi’s overstuffed and ill-conceived Spider-Man 3 .

The story begins with the scene that closed the last film: Spidey is perched outside Penn Station when J. Jonah Jameson (J.K. Simmons) exposes his secret identity. Soon, the whole world knows it’s Peter Parker under that mask, and hordes believe Jameson’s bizarre claim that Spider-Man is a war criminal. (This iteration of Daily Bugle editor Jameson is obviously modeled on real-life idiocy-promoter Alex Jones; but as is often the case these days, intended satire pales in comparison to the stupidity of the real thing.)

Life gets hard for our hero and his pals Ned (Jacob Batalon) and MJ ( Zendaya ), who have to deal with constant media attention and uncomfortable scenes at school. Somehow (just don’t question it), this notoriety even prevents the three brainiacs from getting into any of the colleges they apply to. So Peter Parker heads to Greenwich Village, hoping Doctor Strange (Benedict Cumberbatch) can cast a spell and make his identity a secret again.

Several moments of poor judgment later, Strange has had to quash his own out-of-control magic, which threatens to summon to our planet every person, on every alternate Earth out there, who knows the name Peter Parker. But the cat’s partly out of the bag, and any viewer who has seen a trailer knows at least some of the characters who are coming to play — first, and most enjoyably, Alfred Molina’s Doctor Octopus.

As the old villains reappear, we’re reminded that practically every one of them is a good soul gone wrong — some made monstrous by the same kind of dumb luck that made Peter a hero. So when Strange prepares to send them back to their own timelines (where, we may recall, most of them perish spectacularly), Peter balks. Urged on by his fiercely moral Aunt May (Marisa Tomei, the only woman in the multiverse who can get away with the godawful outfits these movies give her), he insists on trying to heal the villains before sending them home. Arguments between Avengers being what they are, Spidey and Strange duke it out in a magical realm where the scenery goes all Inception- y on them, then Spidey steals a magic doodad and sets off to cure the bad guys.

Rather than spoil any of the surprises the plot may have in store, let’s talk about the elephant in the room: Who thought it was a great idea to tackle this material so soon after practically the same thing happened in 2018’s animated Spider-Man: Into the Spider-Verse ? That rollicking, eye-popping adventure was so fresh, funny and exciting that No Way Home can really only look stodgy in comparison, relying on the novelty of faces we haven’t seen in a while and building up to the kind of operatic emotional moments the previous Watts films tended to avoid.

Yes, Peter suffers here, losing so much he’s at risk of also losing the spirit that has made Holland’s Peter Parker so winning onscreen since swinging into Captain America: Civil War . At moments, the anguish feels like the paint-by-numbers routine of superhero franchise-building: more of the same, despite the unusual circumstances.

But there’s a lightness to the movie’s final scene that makes one hopeful. What if all this colliding-multiverse stuff freed Peter from attachments, not only to his former incarnations, but to some of his more grandiose present-tense buddies as well? Would it be so bad if he were allowed to be a “friendly neighborhood Spider-Man” for a while, with no obligation to fight aliens and giant monsters every other year? Let Doctor Strange explore the mystic depths for a while, and let Spidey swing.

Full credits

Distributor: Sony Pictures Releasing Production companIes: Columbia Pictures, Marvel Studios, Pascal Pictures Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Marisa Tomei Director: Jon Watts Screenwriters: Chris McKenna, Erik Sommers Producers: Kevin Feige, Amy Pascal Executive Producers: Louis D'Esposito, Victoria Alonso, JoAnn Perritano, Rachel O’Connor, Avi Arad, Matt Tolmach Director of photography: Mauro Fiore Production designer: Darren Gilford Costume designer: Sanja Milkovic Hays Editors: Jeffrey Ford, Leigh Folsom Boyd Composer: Michael Giacchino Casting directors: Sarah Finn, Chris Zaragoza

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