Dir: Jon Watts

With: Tom Holland, Michael Keaton, Jon Favreau

Runtime: 133 minutes

DESPITE their vast range of costumes, comic book superstars tend to fall into two categories. There is your gloomy, introspective, glass not so much half full as smashed under heel and ground into the dirt, type. Batman. The Hulk. Wolverine. Then there is your sunnier bunny, bright of costume, light of mind.

For a long time in the movies, Spider-Man has not known if he is Arthur or Martha, his mood depending on which actor is playing the role and whether the story is the first in a series or a sequel trying to ring the changes. Jon Watts’ movie is having none of that, picking Spidey up and planting him firmly on the sun-dappled side of the street. If the Peter Parker in Spider-Man: Homecoming didn’t have a name yet for his alter-ego he could be called Raindrops on Roses Boy, or Whiskers on Kittens Kid. Ah, but will he become one of your favourite things?

British actor Tom Holland takes over from Tobey Maguire and Andrew Garfield in playing the young New Yorker left with superpowers after being bitten by a spider. With the character last seen in 2016’s Captain America: Civil War, Watts’ picture begins with Parker believing a role in the Avengers is his for the taking. But not so fast. Before he knows it he is back in high school in Queens, waiting for his chance to serve. In the meantime, he keeps his hand in at the do-gooding (giving directions, foiling thieves) whether anyone wants his help or not.

And he is still living with May. Note that she is May and not Aunt May of old. Played by Marisa Tomei, a woman who is about as far from your grey-haired, apron-wearing aunt type as Iron Man is from the Tin Man, the new May is a stone cold, jeans-wearing, fox. If you think this attempt to bring the middle-aged female moviegoer into the comic book movie fold is a treat, wait till you see who is playing the city official clamping down on a scrap merchant (played by Michael Keaton) who wants to make a killing out of the alien weapons left behind after the Captain America barney. (As to the identity of the city official I’ll say one word. Okay, two. Mary. Beth.)

Orphaned Spider-Man is reliant on Mr Fixit, Happy Hogan (Jon Favreau) to play the role of uncle, and Tony Stark/Iron Man (Robert Downey Jr) as a father figure. But neither seems keen on the role, preferring Peter go away and do his growing up in someone else’s time. Spider-Man will have to come of age in his own way, whatever the consequences.

The delightfully barbed double act of Favreau and Downey Jr keep the mood light, while director Watts makes good on the promise shown in the low budget 2015 hit Cop Car, maintaining a tearalong pace and executing some thrilling set piece scenes. Adding his own particular brand of class to proceedings is Keaton, here adding a winning postscript to his Oscar-nominated role in arthouse favourite Birdman.

Holland is a hurricane of fresh air as the new Spider-Man. He moves like the dancer who made his name on stage as Billy Elliot. Even while down in the teenage doldrums he never loses that “let’s do the show right here” zip. This is Spider-Man being taken back to his friendly, neighbourhood, roots, and what a refreshing change that makes from the usual superhero navel-gazing. On the evidence of this outing, the kid can swing by again.

Now on wider release after its premiere at the Edinburgh International Film Festival is The Midwife, Martin Provost’s typically slick French drama (four stars). Catherine Frot takes the titular role of a practical, plain-speaking Parisian health worker unamused when her late father’s mistress (played by Catherine Deneuve) wafts in on a cloud of Chanel and floaty scarves after decades without a word. No film-making country gives its older actresses more opportunities to shine than France, and Frot and Deneuve grab them here.

Spider-Man: Homecoming on general release. The Midwife: GFT, July 7-13; Filmhouse, Edinburgh July 21-27.