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Review: The Amazing Spider-Man 2
Nerval's Lobster (2598977) writes "It's a weird time to be Spider-Man. Sam Raimi's 'Spider-Man,' which made its debut in 2002, proved (along with Brian Singer's 'X-Men,' released in 2000) that superhero movies could appeal to the mass market, provided they were done right. With or without his Spider-Man mask, Peter Parker (played in Raimi's movie and its two sequels by Tobey Maguire) made for an appealing presence, earnest and kind-hearted even as he punched and trash-talked villains.
A few years after the debut of 'Spider-Man,' Christopher Nolan began his 'Dark Knight' trilogy, and everything changed for the current iteration of superhero movies. Now Spider-Man's earnestness seemed a bit passé, overshadowed by Christian Bale-as-Batman's moral ambiguities and dour growl. With subsequent movies such as 'Captain America: The Winter Soldier' and the 'Iron Man' trilogy, the genre deepened still further, more willing to reflect—as Raimi's Spider-Man never had—real-world issues such as terrorism, surveillance, and drones." Read on for the rest of Nerval's Lobster's review. 'Spider-Man 3' (2007) tried to get with the times by giving Maguire a black suit (courtesy of an alien symbiote) and a little bit of an attitude, an effort that pretty much everybody seems to view as a failure. As a character, Spider-Man needed to undergo a more careful revision—to become more nuanced and grounded, all without stripping the character of his agreeability. With 'The Amazing Spider-Man' (2012) and the new 'The Amazing Spider-Man 2,' director Marc Webb attempts to strike that balance, and for the most part he succeeds. His Spider-Man, as played by Andrew Garfield, comes off as a little more street-savvy and a whole lot less emo than Maguire, even if he does shed tears at key moments.
'The Amazing Spider-Man 2' features Spider-Man squaring off against Electro (Jamie Foxx) as well as the Green Goblin (Dane DeHaan) and, briefly, the Rhino (Paul Giamatti). If you think that's too many villains for a feature film, you're right, although Webb manages to weave them into the plot with a bit more finesse than Raimi shoving a trio of wrongdoers into 'Spider-Man 3' (and at least the Green Goblin doesn't look like a Power Ranger this time around). Webb's other thread is the romance between Parker and Gwen Stacy (Emma Stone), which benefits from chemistry between the two leads, although it's ultimately eclipsed by the inevitable explosions, super-fights, and stunts. As Gwen, Stone gets the chance to play a role with a little more dramatic weight than the standard-issue damsel-in-distress, and late in the movie she gives a speech that virtually breaks the fourth wall to call out superhero movies on their tendency to reduce female characters to little more than eye candy... a speech that's interrupted within seconds by yet another super-powered brawl.
Webb tries to give his new movie some additional weight by making time a major theme. Characters mention they're running out of it; the first shot zooms out from a micro-shot of a wristwatch's gears; much later, the final battle takes place in a clock tower (and ends on a decidedly pessimistic note). In order to prevent the narrative from tumbling into a dour hole, Webb and Garfield try to give Parker some levity, whether he's taunting a would-be super-villain with a bullhorn or engaging in a webbing-powered slapstick routine right out of Buster Keaton. "He's releasing himself into the symbol that he's created," Garfield said in an interview. "He's enjoying the hell out of it while he's doing it."
Spider-Man will never be dark like Nolan's Batman—these movies have an obligation to be colorful and bombastic. But at least this new one gives the web-crawler some shading.
Rating: 8/10"
A few years after the debut of 'Spider-Man,' Christopher Nolan began his 'Dark Knight' trilogy, and everything changed for the current iteration of superhero movies. Now Spider-Man's earnestness seemed a bit passé, overshadowed by Christian Bale-as-Batman's moral ambiguities and dour growl. With subsequent movies such as 'Captain America: The Winter Soldier' and the 'Iron Man' trilogy, the genre deepened still further, more willing to reflect—as Raimi's Spider-Man never had—real-world issues such as terrorism, surveillance, and drones." Read on for the rest of Nerval's Lobster's review. 'Spider-Man 3' (2007) tried to get with the times by giving Maguire a black suit (courtesy of an alien symbiote) and a little bit of an attitude, an effort that pretty much everybody seems to view as a failure. As a character, Spider-Man needed to undergo a more careful revision—to become more nuanced and grounded, all without stripping the character of his agreeability. With 'The Amazing Spider-Man' (2012) and the new 'The Amazing Spider-Man 2,' director Marc Webb attempts to strike that balance, and for the most part he succeeds. His Spider-Man, as played by Andrew Garfield, comes off as a little more street-savvy and a whole lot less emo than Maguire, even if he does shed tears at key moments.
'The Amazing Spider-Man 2' features Spider-Man squaring off against Electro (Jamie Foxx) as well as the Green Goblin (Dane DeHaan) and, briefly, the Rhino (Paul Giamatti). If you think that's too many villains for a feature film, you're right, although Webb manages to weave them into the plot with a bit more finesse than Raimi shoving a trio of wrongdoers into 'Spider-Man 3' (and at least the Green Goblin doesn't look like a Power Ranger this time around). Webb's other thread is the romance between Parker and Gwen Stacy (Emma Stone), which benefits from chemistry between the two leads, although it's ultimately eclipsed by the inevitable explosions, super-fights, and stunts. As Gwen, Stone gets the chance to play a role with a little more dramatic weight than the standard-issue damsel-in-distress, and late in the movie she gives a speech that virtually breaks the fourth wall to call out superhero movies on their tendency to reduce female characters to little more than eye candy... a speech that's interrupted within seconds by yet another super-powered brawl.
Webb tries to give his new movie some additional weight by making time a major theme. Characters mention they're running out of it; the first shot zooms out from a micro-shot of a wristwatch's gears; much later, the final battle takes place in a clock tower (and ends on a decidedly pessimistic note). In order to prevent the narrative from tumbling into a dour hole, Webb and Garfield try to give Parker some levity, whether he's taunting a would-be super-villain with a bullhorn or engaging in a webbing-powered slapstick routine right out of Buster Keaton. "He's releasing himself into the symbol that he's created," Garfield said in an interview. "He's enjoying the hell out of it while he's doing it."
Spider-Man will never be dark like Nolan's Batman—these movies have an obligation to be colorful and bombastic. But at least this new one gives the web-crawler some shading.
Rating: 8/10"
No, it's a completely new movie. Different director, different plot, different cast and all. You could've just read the review, though, and answered the question yourself.
All these reboots and reboots of reboots are making me dizzy. Actually they've reached the point where I could care fucking less.
The world's burning. Moped Jesus spotted on I50. Details at 11.
I'm judging this based almost solely on the trailers, but the new Peter Parker does not seem dorky enough. He looks like they tried to make him into a hipster instead. The CGI in the trailers, especially for the second movie, makes me think "video game" more than "action movie". And all in all i just don't see the point of Spider-Man reboot so soon.
I've seen all the Marvel movies (great.) I saw Man of Steel (okay movie with significant problems that have already been hashed over.) I saw Wolverine (not perfect, but a lot better than the Origins movie). And i'm going to go see Days of Future Past. I have almost zero interest in seeing the second take of Spider-Man 2. Nothing this review has said really changes my opinion (i don't think Spider-Man really needed that much shading) and some of the things i've read in other reviews have helped bolster that opinion. (Rewriting Spider-Man's backstory via his parents to make him a "destined child" kind of strikes me as wrong.)
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Nerval's Lobster is out of his depth here.
We're still talking about reviewing a super-hero movie here, right? You may be taking this a little too seriously.
I am not a crackpot.
It's more about the absurdity of the specific rights to make Spiderman films. Sony loses them if they don't make any, that's why we had the reboot
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It's exactly the same movie. Different costumes, differently named villains, different actors, exactly the same plot.
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Hollywood has all but given up on original content. There are more and easier profits to be had by adapting works in other media which will bring a built-in audience to the theaters.
That being said, I'm sick of comic book movies.
When a sequel is made absolutely terrible by awful writing, they don't go "Maybe we carried this series on too long, and shouldn't write without respect to the quality of the underlying plot, counting on the name to do everything"
Instead they go "Welp, we drove off all the people that liked the series and another sequel will have a smaller audience. Solution? REEBOOOOOT with more bad writing!"
Comics are a uniquely suited format for adaptation to film, because they have the same (lack) of depth of characters, plot length, complexity, ratio of action to dialog, and flashiness as your typical action movie. So... that's just too easy a train to ride. We'll find a new gimick within another 10 years.
'Spider-Man 3' (2007) tried to get with the times by giving Maguire a black suit (courtesy of an alien symbiote) and a little bit of an attitude, an effort that pretty much everybody seems to view as a failure.
No, Spider-Man 3 was a near-faithful movie version of the alien-suit saga, a pivotal point in Spider-Man's career where the suit was making Peter stronger and a better fighter, but also more callous and brutal. To say the black suit was the director's attempt at an edgy Spider-Man is like saying the death of the witch king in Return of the King was Peter Jackson's attempt at feminist ideology.
All these reboots and reboots of reboots are making me dizzy. Actually they've reached the point where I could care fucking less.
I feel like I'm back on Windows Vista or something!
Sam Raimi's 'Spider-Man,' which made its debut in 2002, proved (along with Brian Singer's 'X-Men,' released in 2000) that superhero movies could appeal to the mass market, provided they were done right.
Really? That was the movie that proved superhero movies could work?
*ahem* http://www.imdb.com/title/tt00...
C'moooon. I don't really think anyone's looking back on Spider-Man as a classic now, let alone in another 24 years' time.
systemd is Roko's Basilisk.