Obviously, “Homecoming” has multiple meanings, not least of which is Spider-Man’s switch to the cool side of the Marvel fence, outside of Sony’s control. Makes sense. One could argue that the very DNA of the modern Marvel movie machine is based on what made Sam Raimi’s first two movies so successful: larger-than-life characters tackling real-world themes, with a lightness of touch that didn’t undermine the gravity of the drama. It’s a difficult balancing act; one which Marc Webb’s aborted reboot largely failed to replicate.
Today, Marvel is a blockbuster production line of Toyota-like efficiency, and part of its success lies in squeezing the authorship out of its directors. It was too much for Edgar Wright,