The Marvel intro begins to roll, accompanied by a score which isn’t immediately recognizable, until the string section kicks in and identifies the track as an orchestral remix of the classic 1967 Spider-Man theme. As the music swells and the Marvel logo fills the screen, the studio’s message rings loud and clear: Spidy’s back.

“Spider-Man: Homecoming” is the latest installment in the Marvel Cinematic Universe, following the introduction of Spider-Man in “Captain America: Civil War.” Directed by Jon Watts, the film follows Peter Parker/Spider-Man as he attempts not only to navigate the social world of high school, but also to earn the respect of his idol Tony Stark/Iron Man, investigate the sale of exceptionally dangerous weapons in his neighborhood and in his spare time, keep his city safe from average street crime.

The story of “Homecoming” strikes the perfect balance between superhero blockbuster and high school comedic drama, sliding between these two disparate genres with shocking ease. The flick accomplishes this by remaining centered squarely on its main character, subtly drawing attention to the slow toll Peter’s duality is taking on him in an organic manner.

Focusing on Parker proves to be an excellent move, as Tom Holland as the titular character is easily the best part of “Homecoming.” Holland brings a boyish enthusiasm to Spider-Man, exemplifying the spirit of adolescent fun essential to the character while keeping his performance grounded with the earnestness of a kid trying to do his best. This is the first version of the wall-crawler who effectively sells that he is simultaneously a socially inept dork and a quip spouting superhero, an achievement which belongs almost entirely to Holland.

Holland is far from the only worthy performance in “Homecoming,” as the supporting cast fill their roles almost perfectly. Robert Downey Jr. is unsurprisingly great in his eighth big-screen portrayal of Tony Stark, but the film wisely relegates him to a secondary character to give Holland and the rest of the cast time to shine.

Marisa Tomei and Jon Favreau as Aunt May and Happy Hogan are both endearing as the other imperfect adult figures in Parker’s life, while Laura Harrier manages to portray love interest Liz as both mature and somewhat neurotic with very little screen time. Slightly less impressive is Zendaya as Michelle, in a performance which is not even close to bad, but feels a little stale.

The standout performance of the supporting cast is certainly Jacob Batalon as Ned, Parker’s best friend and one of the sources of “Homecoming’s” excellent humor. Batalon doesn’t lend Ned a vast amount of depth, but rather imbues him with seemingly endless fun-loving charm and enthusiasm, acting as an audience analogue to ogle the sci-fi tech and cheer the web-slinger’s heroics.

The supporting characters and hero are so lovable they could conceivably carry the movie even with a worthless antagonist. Fortunately, they don’t have to, because Michael Keaton as Adrian Toomes/Vulture is compelling, unsettling and likable all at once. Toomes isn’t a very original character, as the working-class man trying to provide for his family is a relatively common trope, but Keaton sells this less-than-evil villain hard and creates easily on of the most memorable foes in the MCU.

Keaton’s performance perfectly encapsulates “Spider-Man: Homecoming.” There is precious little new or unexpected to be found in the film, but much like the opening score, every familiar note is hit with so much enthusiasm and love that “Homecoming” stands as a worthy addition to the Spider-Man mythos, an excellent addition to the MCU and a phenomenal film in general.