![The Red Right Hand Movie Reviews [Matthew Stogdon]](https://reviews.theredrighthand.co.uk/wp-content/uploads/2021/12/cropped-header1.png)
Director
Destin Daniel Cretton
Starring
Tom Holland
Zendaya
Sadie Sink
Jon Bernthal
Over the course of the three years after the events of Spider-Man: No Way Home, Peter Parker [Holland] lives in isolation. He keeps himself away from others and simply exists as the friendly neighbourhood Spider-Man. As such, New York’s street level crime rate has plummeted. But despite the peace and accolades, Peter is at odds with himself and ultimately torn that he cannot connect with his friends, after he caused the entire world to forget his identity. As a result of this traumatic overload, his human and spider hormones are out of balance, leading to an unexpected metamorphosis. What’s worse, New York is being plagued by attacks from a telepathic figure, who is determined to bring down the city’s super villain task force: the Department of Damage Control.
Despite over two decades of Spider-Man films, filmmakers are still able to tell a solid, earnest Spider-Man story that feels fresh. Part of that comes down to Peter simply walking around in a comic-accurate costume for the majority of the time, interacting with the people of New York, refusing to take off his mask, and uncovering a genuinely intriguing mystery. The other side stems from this adaptation feeling like it’s drawing off the Insomniac Spider-Man video games, rather than the comics. The action set pieces, engaging emotional core, various powers and abilities, investigative and stealthing elements – they all come across as familiar to anyone who’s played the recent Playstation titles. What’s more, there’s a real joy in Peter’s loveable charm and effortless chemistry with every single character. From adversaries to allies, each of the fleeting exchanges feels oddly meaningful and nails the tone of what people want from Spider-Man. And yes, I appreciate that’s a ridiculous thing to say for a character who has 9 of these movies (11 if you include the animated ones) but this is the first time this particular iteration isn’t facing world-ending threats. Or, as Yelena explains in the bath-house (in a prime example of that superb comedic chemistry), small potatoes rather than big Avengers potatoes.
I’m sure I’ll be eating my words when Avengers: Doomsday comes out but it seems like Marvel has heard some of the complaints about their features and taken notes – at least when it comes to visual presentation. Because this is one of the better looking MCU films. Cretton has reunited with long-time collaborator, Brett Pawlak to give us a darker, richer cinematography (somewhat akin to Thunderbolts*) instead of the flat, floaty, CGI-smothered fare we’re used to. Speaking of Cretton getting the band back together, there are plenty of lessons learned on both Shang-Chi and Wonder Man that are on display here. A prime example being the plethora of interesting action shots and sequences. Sure, it’s nothing revolutionary but the combat is clear and easy to follow, with a smattering of unique and inventive shots, that help an all-too-familiar arena feel revitalised. Similarly, Michael Giacchino has distilled all his plinky, upbeat themes and leitmotifs and woven them into something more mature, soulful and a little forlorn.
And a lot of that solemnity is a reflection of a series of films growing up with its audience. Holland has been in this role for a decade now, and yet this feels like the first time he’s allowed to crowbar himself away from the MCU and just be Spider-Man. But that absence and isolation has had an adverse impact, meaning we’ve got another superhero story about PTSD. And how is this relevant to the young target audience? Well, these kids are no longer in school, they’re trying to get by in a hostile and unaffordable world, having just endured a global pandemic, recessions, and war. Who hasn’t been touched by the hands of stress and existential trauma at this point? Subsequently, what we have at this movie’s core is a surprisingly tender and heartfelt endeavour about identity, connections and responsibility – things young adults are universally confronted with.
Being a comic book movie, the host of characters is sometimes more important for the name attached to them than the person in the suit. In other words, it almost doesn’t matter how the Hulk is portrayed here, just that he’s the Hulk and audiences know who that is. However, it’s nice that each supporting role (regardless of how long or short it is) fits well into this world and story. Holland continues to prove he’s the perfect combination of both the caring, wise-cracking hero, and the down-on-his-luck Peter, simply trying to get by. Zendaya and Jacob Batalon remain integral lynchpins to not only the titular character’s emotional core, but the film’s as well. And then we have a rolodex of names and faces hopping on and off screen. The most prominent (and arguably unlikely) being Bernthal’s Punisher/Frank Castle. Frank’s hard-edge attitude and gruff exterior makes for the perfect juxtaposition between the ethically honourable Peter. And then there’s Sadie Sink, whose character has been shrouded in mystery since she was announced as part of the cast. Albeit the worst kept secret in Hollywood. That said, I’m going to keep all my discussions about her portrayal in a separate paragraph.
**spoilers**
From the moment her inclusion was announced, speculation surrounding who Sink is portraying ran rampant. From Mary Jane Watson to Firestar, there were plenty of possible Spider-Man adjacent roles. But, it ended up being the X-Men character, Jean Grey. Ditching all the ‘future of the X-Men in the MCU’ talking points, Sink is a magnificent inclusion to this cast, offering a super-powered parallel to Peter’s journey; isolated, struggling with identity, and targeted by nefarious forces intent on harnessing her power. Proving, once again, Sadie Sink was the best thing to come out of Stranger Things. What’s more, the initial setup of a flashback conversation between Aunt May and Peter being transposed to Jean’s plight is such a wonderful but simple bit of writing. Most notably it’s a direct approach that feels like it’s been absent from the blunt MCU storytelling audiences have unfortunately grown accustomed to.
**more spoilers midway through**
For all the fun and immersion on display, Spider-Man: Brand New Day is still rough around the edges. Specifically, it may be a little too vignetted, jumping from sequence to sequence in the episodic nature of comics or video game side-quests, creating a few too many loose ends and encounters that feel somewhat expendable. Also, while I praised the emotional maturity of not simply resetting the memory wipe, they couldn’t help themselves by lazily scrubbing it at the last second. But the real issue is Peter’s invention of the universal inhibitor. This isn’t necessarily new tech for Marvel movies – we saw it used on Dr Octavius in the previous film, and Banner uses it repeatedly to keep the Hulk at bay. But creating a device that can essentially restrict or limit superhero powers across the board, is the same blunder as teleporting between planets in Star Trek Into Darkness: it’s a ham-fisted solution to a writing obstacle you set in your path, but one that has drastically far-reaching consequences. Consequences that are likely going to be ignored for ease.
Divorcing itself from the galactic-scale conflicts, Peter’s ties with Iron Man, and the nostalgia for the 2002 and 2012 iterations, has meant this fourth Spider-Man release has more opportunity to focus on its central hero, his arc, and his evolving power-set. Sure, we all have complaints and frustrations with the MCU but when it’s good, it’s good. And this is a strong step in the right direction with powerful performances, themes of bravery and compassion, and exciting action that feels distinct. The question that remains is are we witnessing the start of a new era, or a last hurrah for a beloved performance? Thematically it’s the latter but as this movie is likely going to be a box office powerhouse, I’m sure we’ll be back again.
Release Date:
31 July 2026
The Scene To Look Out For:
Much is made of the connection Peter had with his friends, and how, without that, he’s adrift. Nowhere is that better represented than a masked Peter sitting around with Ned and MJ making Lego and quoting The Lord Of The Rings. It’s just a quiet but accessible message about the importance of having some form of support group, no matter who you are. Which will resonate more than audiences may expect.
Notable Characters:
There’s such an expansive list of supporting roles but the one that kept jumping out to me was the legion of individuals Sink’s character hijacks. Sure there are a few a-listers but the majority are various nameless citizens, and despite having 1-2 lines each, there’s no weak link in the chain. Every actor involved steps up and creates something interconnected smoothly. Which is not only a huge testament to the direction, but to the importance of minor supporting roles that often go unsung.
Highlighted Quote:
“But I don’t love you because I don’t know you.”
In A Few Words:
“A truly fun feature that balances street level peril with relatable character development.”
Total Score: 4/5
