Spider-Man: Brand New Day Review – Zendaya Elevates Tom Holland's Superhero Return

London, United Kingdom Jul 28, 2026 ALN: Just a few weeks ago, Tom Holland was telling us that his role as Telemachus in Christopher Nolan’s Odyssey was his “last chance to play a boy.” This statement highlights the actor's acknowledgment of the inevitable passage of time and the evolution of his career. Holland is back as the supposedly scrappy, gawky, arachnid young superhero Spider-Man. Not Spider-Boy, admittedly, and these days Holland is actually a chunkier and more stacked Spidey than previously, flexing some pretty serious biceps. He is maturing in the role, reflecting not only on his physical transformation but also on the character's growth. But is the role maturing with him?

The point is that this film is a reset. At the end of the last movie, Spider-Man: No Way Home, courtesy of Dr. Strange’s colossal psychic powers – which might have come in handy in this episode incidentally, part of the narrative-universe inconsistency that you just have to overlook – Peter Parker was able to erase everyone’s knowledge that he is, in fact, Spider-Man. This erasure includes his goofy best friend Ned Leeds (Jacob Batalon) and, more importantly, the love of his life, MJ (Zendaya). This significant plot point sets the stage for a fresh start, but it also raises questions about identity and connection, themes that have been central to Spider-Man's story since its inception.

So now Peter is simply back where he started, adored by New Yorkers for crime-fighting as Spider-Man, living in a scuzzy single room with all his screens and tech gear, his secret identity a secret once more, but pining for the people he loves. The emotional weight of this isolation is palpable, as Peter navigates the complexities of adolescence while grappling with the responsibilities that come with being a superhero. He’s not getting any younger, and the film poses the question: How much of a “brand new day” is this? The title itself suggests a fresh beginning, yet the narrative reveals that some challenges are timeless, particularly the struggle between personal desires and public duties.

Now Spidey has to tackle a sinister new entity that appears to be possessing the bodies of important people around town – starting with the villainous Scorpion (Michael Mando) – with a view to attacking and infiltrating a key government unit, the Department of Damage Control, run by Bill Metzger, played by the excellent Tramell Tillman (from TV’s Severance). This plot introduces a new layer of complexity to the superhero genre, as it intertwines personal stakes with larger societal issues. The Department of Damage Control, a concept introduced in the Marvel Cinematic Universe, represents the bureaucratic response to superhero activities, highlighting the often-overlooked consequences of superhero battles on ordinary people and infrastructure.

This disquieting new development coincides with unprecedented new physical and mental health issues for Parker. He has headaches, and these appear to be taking our hero to what can only be described as the David Cronenberg zone, a nod to the filmmaker known for his surreal and often disturbing explorations of the human psyche. This element of the narrative adds a psychological depth to the character, allowing the audience to engage with Peter Parker on a more intimate level. The physical manifestations of his mental turmoil serve as a reminder that even superheroes are not immune to the pressures of life.

To tackle these inner and outer crises, Parker/Spidey has to consult Black Widow (an amusing cameo from Florence Pugh), who talks to him while reclining in a plunge pool in which shy Spidey joins her while wearing his mask and also underpants. This humorous interaction lightens the mood and showcases the camaraderie among Marvel characters, but it also serves to highlight Peter's awkwardness and immaturity in contrast to Black Widow's seasoned confidence. He also has to seek advice from aging academic Dr. Bruce Banner (Mark Ruffalo), AKA the Hulk, a revived acquaintance which ends in chaos. This chaotic encounter underscores the unpredictability of superhero life, where even the most mundane interactions can spiral into disaster. Furthermore, Spider-Man finds himself in a fractious frenmity-bromance with the highly strung tough guy Frank “Punisher” Castle, whose life he once saved, played by Holland’s Odyssey castmate Jon Bernthal. This dynamic introduces a new layer of complexity to Peter's character, as he navigates relationships with older, more experienced heroes who embody different philosophies regarding justice and morality.

But most importantly of all, Parker is obsessed with finding ways to cross paths with MJ, effectively stalking her and masochistically witnessing her making out with her new boyfriend. This subplot adds a layer of emotional tension to the film, as it explores themes of unrequited love and the pain of watching someone you care about move on. The portrayal of Peter's obsession raises questions about the nature of love and whether it can be truly reciprocal when one party is burdened with such immense responsibility. He has some very big, even slightly shocking scenes with Zendaya – the other Odyssey cast member, in fact. These encounters hold out the painful hope that he can somehow rekindle the flame, somehow find happiness while pursuing his lonely vocation.

Zendaya saves this film. She rescues it from silliness and the generic deja vu overfamiliarity that is always threatening to sink it. Something in MJ’s civilian status, her non-superhero identity, brings Zendaya’s grownup acting presence to the fore in ways denied to everyone else on screen, including Holland. Her naturally relaxed style and self-possession give the proceedings a boost, especially with the flash of transgressive sexuality that she shows us at one moment. This portrayal of MJ as a strong, independent character adds depth to the narrative, challenging traditional gender roles often seen in superhero films. Director Destin Daniel Cretton gets the best out of her, crafting scenes that allow her to shine and elevate the film beyond its typical superhero fare.

Otherwise, things are the same in Spideyworld in ways that we will recognize with affectionate exasperation. As ever, Spider-Man can swing through the air across Manhattan without the overhead horizontal plane that his web would surely need to attach to, even in non-built-up areas (although he might be using power lines). This suspension of disbelief is a hallmark of superhero films, yet it also invites viewers to engage with the fantastical elements of the narrative. And Spider-Man: Brand New Day, like all MCU movies, always gravitates towards apocalyptic but weirdly temporary destruction in the digitally confected big city. This tendency reflects a broader trend in superhero cinema, where the stakes are often raised to cosmic proportions, yet the aftermath is rarely explored in depth. It’s an entertaining spectacle, but really without the novelty of movie-iterations like the more experimental Spider-Verse animations. A more radical reboot is needed, one that challenges the formulaic nature of superhero storytelling and offers fresh perspectives on familiar characters.

In conclusion, Spider-Man: Brand New Day presents a compelling blend of humor, action, and emotional depth, with Tom Holland and Zendaya delivering standout performances. The film navigates the complexities of identity, love, and responsibility, all while maintaining the lighthearted spirit of the Spider-Man franchise. However, it also raises questions about the future of superhero narratives and the need for innovation in a genre that often relies on established tropes. As audiences continue to seek fresh stories, it remains to be seen how the Marvel Cinematic Universe will evolve to meet these expectations while honoring the beloved characters that fans have come to cherish.