There are a lot of movies inside Spider-Man: Brand New Day. There is an MCU film that brings back more than just Spidey. There is a jam-packed action film with perhaps one too many fight scenes. Then there is a set-up for the next film/s. And then there is the best part—the coming of adult-age story of Peter Parker, experiencing a great deal of loss and disconnect. If you’re looking for the feel-good Spider-Man movie, check out one of the earlier ones. Mileage varies, but this might be your favorite or one that falls farther down on the list of the Tom Holland films.

The great strength of the film is Holland, who manages to connect with the earlier version of Peter and yet moves into newer, deeper and more adult territory. Instead of simply stopping crime (which he does, especially in the first half), he is mourning the loss of his beloved aunt and is cast adrift emotionally because (not really a spoiler alert), his best friend and the love of his life can’t remember who he is.

The action sequences are borderline unbelievable, even for Marvel movies. But they are fun and exciting for what they are. But what holds—or should hold—the film together is Peter’s journey. When the film focuses on that, it works well. The angst is real and really portrayed, and Holland gives his richest superhero performance here. But when the film veers away from his story, especially with the too-long focus on Jean Grey—very well played by Sadie Sink—the film loses its focus unless your brain is on the next film or two. The Jean Grey story is well executed, but we lose Peter for too long, and the Grey story can’t quite make up for that loss of momentum and narrative drive.

The supporting characters are generally strong. Zendaya and Jacob Batalon as MJ and Ned fit comfortably into their roles and keep the connection with previous Spider-Man movies going strong. There’s never enough Marisa Tomei as Aunt May. Florence Pugh as Yelena owns every scene she’s in, and Liza Colón-Zayas from TV’s “The Bear” helps ground the film as Detective Jean DeWolff. Tramell Tillman (“Severance”) seems to major in playing characters that might be good or bad, and he exhibits that same vibe here.

Much has been made of Jon Bernthal’s role as Frank Castle, but it’s underwritten and Bernthal, as well as his character, seems (relatively) subdued. There is contained power there, but it could have been more released. The characters of Bruce Banner and The Hunk don’t quite fit easily into the film. They provide the necessary set-pieces, but with the “Who is really being themselves?” question throughout the film, we’re constantly kept guessing—and not always in a good way—who is good and what might happen.

Yet, this is Holland’s picture, and his journey is heartfelt and often very moving. Peter matures, as well as Holland’s acting. With all the action flying around him, he is a sweet, wounded, tender center of it all.