Tag Archives: Spider Man

The Amazing Spider-Man (2012)

The Amazing Spider-Man reboot has of course caused a hoopla of ‘what?’ and confusion, since only several years ago the franchise had concluded. The first Spider-Man was Sam Raimi’s vehicle, a wondrous display of set-pieces and talent: But with the new Spider-Man, we see a new look, tone, and feeling for the character. Here, Peter Parker has the on-the-fringe personality that is so attracting in the movies: Avenger flicks have made huge gross amounts in movie history. His parents left him at a young age with his Uncle Ben, played with the old-style charm of Martin Sheen, and Aunt May. Although It distinctly establishes its own uniqueness, there are some scenes that seem strangely similar.

I liked the fact that Spider-Man had to create, spindle shall we say, his own webs. It put a limitation to his tower-swinging capabilities; after all, you can’t be heroic without an Achilles heel. It has a true effect of trying to fit-in with a modern-retelling; the characters use smart-phones and Bing search engines, but the drama always remains in the neatly-wound realm of superhero flicks. When Peter comes home, late at night, bloody in the face, the Aunt assumes nothing, or seems not to; and right after Peter is bit, he comes home in a jittery sweat, eating and catching flies between two fingers: Why couldn’t Uncle Ben ask him if he was on coke? These are domestic people, let’s show it that way.

Garfield’s Parker is a lot more narcissistic with his own feelings, partly because more tragedy is involved in this Spider-Man. There are many scenes where he is teary-eyed, and easily visible behind his dusty, bloody face. He needs Gwen Stacy, played by Emma Stone, and at first it seems to be a Romeo and Juliet story, only the Montagues end up dieing instead of the children. There scenes have a vibrant, muted expression, and an innocence that is too far gone in Peter’s life.

The villain in The Amazing Spider-Man is a bit unusual. We don’t necessarily have that subjection of hatred towards him like most superhero flicks; he is a brilliant scientist with a desire to change his life and handicap, and even the lives of others. Though, after recording himself deep in the sewers, we see that he is not only turning into a reptile, but also a ideological mess; he has the sort of impenetrable mindset that insists on helping the world by turning them all into lizards like him. A brooding tale of deceit, responsibility,  and family history.

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Review: Spider-Man

Spider-Man

Sam Raimi’s “Spider-Man” soars with strong characters and breathtaking sky-scraper cinematography, the emotional tone ably matched with the often overdone action tone of comic-book films. Creator of ‘The Evil Dead’ B-franchise, Director Raimi has a knack for dynamic set-pieces; each one livens the movements of the super-reflexive Spider-man, and leads him into the next destruction-ridden scene.

Peter Parker, played by Toby McGuire, is a reserved high-school student with a Romeo-like passion for the girl who lives next door, Mary Jane, played by Kristen Dunst. Possibly as a result of his humility and pity, as Peter often overhears the harsh screaming and glass-shattering chaos of Mary and her father fighting. The two have a very touching encounter as she runs out the back in one of those dramatic situations, and he tenderly approaches her with his hands folded on the fence that divides them, on the way to taking the garbage out for his caring Uncle Ben and Aunt May.

Peter Parker’s social position is flipped, quite literally, when he’s on a field-trip at a Spider genealogy institute, and a loose spider-experiment seeps down from the ceiling on a silk web and bites his finger as he snaps a photograph. His physique goes from scrawny to built soon after, and his super abilities give him much spider play-time for us and him to have fun with. With these powers, his Uncle Ben says, comes great responsibility; and so it goes.

Mary Jane is the romantic focus of the first and following Spider-Man sequels. She symbolizes the universal bound of love, one of the only normal things Peter is acquainted with, and is a sobering reminder to the audience of the sacrifice Peter is making as the masked vigilante. The capitalist villain Green Goblin, played by a wide-smirking Willem Dafoe, combats Spider-Man throughout, while also having Thanksgiving dinner with Aunt May, his son Harry and Mary Jane, presently Harry’s girlfriend. The dramatic irony leads us into the final-sequences with grave suspense and anticipation.

Spider-Man is a versatile and well-acted adaption of Stan Lee’s comic series and stands as further of Director Sam Raimi’s talents with both the actors and the extravagant, practical set-design. The plot has many loopholes for Peter to avoid, like his best friend Harry being the son of a villainous bio-rat goblin, and they are left untouched with grace and dignity. The film makes a strong mark for the future sequels.