Spider-Man: Homecoming is currently looking at a opening weekend box office total of well over $100 million after making $50.5 million on Friday, which would make it the third biggest opening of 2017 after Beauty and the Beast and Guardians of the Galaxy, Vol. 2. This should not really come as a surprise to anyone. The press for Jon Watts' take on the tale of Peter Parker and his web-slinging alter-ego has pegged the film as a kind of turning point for the Marvel Cinematic Universe, receiving some of the best reviews of any Marvel film to date.

And though I agree that Spider-Man: Homecoming is one of the best films that the MCU has produced thus far, alongside Ant-Man, Doctor Strange, Iron Man 3, and Captain America: Civil War, my primary issues with Marvel's output are just as prevalent in Watts' movie as any other MCU film. There is still a tendency to edit around story beats rather than allowing an editor find their own rhythm with the film alongside the director, and the filmmaking similarly continues to be pinned to a (very good) script. And there is, of course, the constant telegraphing of some bigger fight to come (Avengers: Infinity War) rather than focusing on what's going on in the moment. There are entire sequences where Homecoming diminishes its action and its formidable emotional impact by building up anticipation for sequels most people are going to see no matter what.

Nevertheless, Watts, Tom Holland, and the entire creative team deserve major kudos for making a thoroughly entertaining, very funny, and occasionally moving action romp. The same kudos should continue to be levied at Edgar Wright's Baby Driver as well, which is currently in the third spot with $3.9 million. The continued word-of-mouth success of Baby Driver is truly something to be inspired by in the same year that this sort of no-frills success helped make Jordan Peele a major filmmaker and Get Out a fiscal and artistic triumph.

And though movies like Despicable Me 3 and Transformers: The Last Knight are making back their (enormous) budgets in one way or another, their monetary success is business as usual. The former is currently in the second spot with $11.3 million, while Michael Bay's blow-up-o-rama is hanging in at number five with $1.8 million. And then, in fourth place, there is Patty Jenkins' Wonder Woman, a film that is at once business as usual for the DC brand and a breakthrough for female filmmakers and female-fronted blockbusters in general. The very fact that the film is still in the top five in its sixth frame, bringing in $2.9 million on Friday, should tell you just how unique a work Jenkins, Gal Gadot, and their team have crafted here. Here's hoping there are more stories like Wonder Woman, Get Out, and Baby Driver by the end of 2017.

Here's your top five: