"Peter Parker" (Tom Holland) is pining. After having to sacrifice everyone's memory of him to save the world in the last film, he now has to swing from building to building in his red and blue kevlar stopping crimes whilst the biggest of all - his loss of "MJ" (Zendaya) remains unsolvable. The poor fella is lonely and so is putting all his efforts into his work to the extent that his police pal "DeWolff" (Liza Colón-Zayes) is starting to worry about his wellbeing. Well it isn't long before he is too - his spidey-senses are all over the shop. What's occurring? Well a chat with the sauna-dwelling "Black Widow" (Florence Pugh) following an Azazel-like experience with an ostensibly malevolent creature that can jump from person to person to person - but that can't use him as a conduit - starts to really get him confused. On the personal level, he has learned that spiders have three stages to their lives, so perhaps this is just a natural readjustment? He reckons a chat with "Banner" (Mark Ruffalo) might help - incognito, of course, but that only seems to make matters even worse. Might he, too, need an inhibitor to stop himself turning into something altogether more dangerous as his internal symbiosis between human and arachnid looks compromised? Meantime, he does make progress in identifying his ruthless and powerful new nemesis, but that doesn't help him explain why she is so bent on destroying the city's enforcement bureau and exacting her vengeance on it's boss "Metzger" (Tramell Tillman). Can he sort this out before he is subsumed by his new-found nature and, of course, what can he do about "MJ"? It's ten years since Holland first donned the red mask and as much as with watching the actor, we can also watch how his characterisation of "Spider-Man" has evolved. There are certainly plenty of set-piece action scenes - usually in tandem with Jon Bernthal's entertaining "Punisher", but there is also a little more soul to this film. It's much more of a characterful look at the man behind the eyes, of a troubled soul - but not in any sort of melodramatic fashion; more a study of just how loneliness can effect a person, any person, and of how difficult it can be for them to admit the problem let alone reach out to anyone. Zendaya is anything but the damsel in distress here too. There's no high-pitched squealing or "save-me, save-me" tied to a scaffold by the baddie sort of stuff. Indeed there's actually a distinct lack of the traditional baddie here and as the story unfolds the messy carnage starts to look like someone else's manifestation of solitude, too. This is certainly a piece in the puzzle of the MCU - with "Avengers" and "X-Men" related threads, but it doesn't mess about with it's timelines and so we are presented with something enjoyable and quickly paced, but just a little more substantial too - quite an achievement for a man who can't get his sponsors to make him red and blue spidey-pants too!