Movie and Television Reviews

One may quibble over their exact position, but amongst the five best superhero movies are the three Spiderman films. In fact, one can convincingly argue that the Spiderman movies take the first three slots (with the third one being the best), for the Spiderman movies alone amongst superhero series stroll alongside Lord of the Rings and Star Wars as movie series comprised of individually outstanding films that maintain or improve in quality and depth with each iteration.

A few superhero movies combine special effects and a solid plot to provide an enjoyable, escapist experience. It's when superhero movies attempt profundity that many falter. The inherent psychological complexity of the Hulk beckoned its writers to focus on David Banner's inner struggle and the writers failed miserably; the Hulk not only offers no non-obvious insights, but is ridiculous and boring. The X-Men movies focus on social analogy and encounter some success, but only middle-schoolers consider "accept the other" themes profound. Only theSpiderman movies have been able to dig into issues of human motivation and social responsibility without slipping into the resultant hole The Matrices are the ultimate example of movies with overly ambitious themes). It's the combination of it's excellent story, fine performances, quality non-overwhelming special effects, and solid exploration of the human condition that earns Spiderman its five stars.

Plot/Story elements:

Spiderman's plot is an intricate masterpiece of barely related strands the writers introduce, withdraw in the case of the first three below, and reintroduce towards the end to create a tightly-wound conclusion. The divergence and convergence of the plot strands thrill both artistically and intellectually. I won't attempt to fully describe the plot, but the four stands or conflicts are:

Sandman/Flint Marko vs. himself vs. Spiderman:

The man who killed Uncle Ben escapes from jail to help his ailing daughter. Running from police, he accidentally falls into a hole and then victim to, hold your breath, a scientific experiment gone awry. He acquires the ability to change his molecular structure into sand. That makes him resistant to damage and able to fight Spiderman. He's ultimately a sympathetic character as he only commits crime to help his sick daughter.

New Goblin/Harry Osborn vs. Spiderman vs. Goblin:

New Goblin, burning with unjustified rage at Spiderman over his role in Goblin Sr's demise, must face the truth concerning the death of his father and realize the value of his relationship with his best friend, Peter Parker.

Venom/Eddie Brock vs. himself vs. Spiderman:

Humiliated by Spiderman, Brock comes back to exact revenge aided by an alien symbiont that both amplifies Id-based desires (think of it as an alien tequila) and gives its symbiotic partner super-powers. This late-emerging and un-telegraphed strand gives the story a boost at the perfect moment and provides the film with a logical, cohesive conclusion.

Spiderman vs. himself vs. Sandman vs. Venom vs. symbiont and the effect they all have on his relationship with Mary Jane:

Spiderman must first resist fame's siren song and the obnoxiousness that often accompanies it. When he fumbles this task, New Goblin exploits the fissure it creates between Peter Parker and Mary Jane to lure Spiderman into a battle. The loss of Mary Jane and problems at work combine with the negative psychological effects of the symbiont to create evil Spiderman. Evil Spiderman acts like a combination of Ike Turner, Snoop Dog, and Tony Montana but looks like an emo-ish Adam Ant. Parker's loss of his nerdy restraint not only allows him to deal harshly with his super-enemies, but causes him to mistreat Mary Jane and humiliate Eddie Brock.

Stylistic elements of Spiderman:

One expects an impressive array of special effects and Spiderman satisfies in this regard. The first battle with the New Goblin seems like a visual departure from earlier Spidermans. The character movements look cartoonish (in good way) and more stylized than in previous Spidermans, but things settle down later in the film to give the action a more realistic look. I also like that the writers don't have Spiderman perform a fluffy, humorous introductory good deed, but go strait to a plot-relevant battle.

Psychological/moral commentary:

As mentioned, central to the plot are Peter Parker's struggle with temptations. First, he fights the temptation to infect his selfless crime-fighting acts with desires for glory. Spiderman actually shows little growth in this area, but this struggle still impacts the storyline because, in a clever allusion to the first Spiderman, Spiderman indulges in a kiss to impress the crowd at a celebration in his honor (Resisting a kiss with Bryce Stacy Howard requires a superpower beyond Stan Lee's imagination) causing Marry Jane to become jealous. Harry Osborne exploits the resultant problems in Parker and Mary Jane's relationship to gain access to Mary Jane. Mary Jane doesn't fall in love with Osborne, however, who must resort to pure intimidation in order to convince Mary Jane to be bait for Spiderman. Why didn't the writers have Osborne resort first towards intimidation and spare moviegoers a five minute cooking scene with Osborne and Mary Jane? Because Mary Jane needed first to be convinced that she loved Peter.

Peter Parker must also struggle with his desires for revenge. Aided by the inhibition-reducing symbiont, Peter exacts his revenge on the Sandman, Harry, Brock, and, finally, Mary Jane. The fact that all but the last deserve what's coming to them gives the movie moral complexity and the moviegoer an additional 20 minutes of Starbucks conversation.

The Sandman's case is equally complex. We know that he commits crime only reluctantly, but does he have a choice? The movie vacillates. Spiderman tells him he had a choice and repeats this statement in the after action-lessons learned narration at the end, but the movie doesn't pound the point home.

Harry Osborne must choose between the comfortable lie that his father loved him and loyalty to his only true friend. Osborne's decision stirs the duty-oriented amongst us.

Brock's an immoral, opportunistic, integrity-challenged mess and the movie makes clear that such people deserve their fate.

Social Commentary:

The movie makes fleeting and unobnoxious references to capital punishment In doing so it follows the modern tendency to amplify the personal virtue of forgiveness into a social policy. Extreme examples of such sentiments manifest themselves after mass murders when people not directly affected by the murders trip over themselves to forgive the usually unrepentant or dead murderer. Peter Parker does forgive, but at least he was affected by the action he forgives. Aunt May is the standard when it comes to forgiveness.

I suppose some blogger will bring up that had Flynt Marko's child had access to adequate health care, we never would have had to deal with the Sandman.

The movie includes a cross, a church (like in real life, the conspicuously Catholic Church both inspires nobility and is used by some to justify un-Christian moral reflexes), and an American flag. I consider these bold statements in what's sure to be one of the most globally marketed movies in history.

Choose goodness. As Stan Lee says, "'nuff said."

Geek good news:

1. New Goblin's glider returns to his feet when it senses he falls. Good.
2. The manner in which Spiderman defeats Venom is nerdiliciously brilliant.

Movie flaws:

Spiderman suffers from lapses in scientific and behavioral logic that strain geek logic. Sci-fi Apologist (he helps me here here, and here), where are you?

1. How does everything on the Sandman crystallize into sand except his child's locket and picture?
2. How does the Sandman see with sand eyes? Come on, now.
3. The police stand around for half an hour watching Spiderman fight Venom and a huge dirt clod. Hey, non-superheroes! How about a little help? This is painfully dumb especially when it becomes apparent that the Sandman is susceptible to conventional explosives
4. The waiter was hilarious, but the other humorous moments fall flat. Especially painful are the J.J. Jameson scenes. Why would Jonah have a vibrating desk? And the kid with the camera? pathetic.

Be reasonable, Jane; he may be a superhero but he's still a man.

Cast and credits

Follow up:

Sam Raimi (screenplay) &
Ivan Raimi (screenplay) and
Alvin Sargent (screenplay)

Sam Raimi story &
Ivan Raimi screen story

Stan Lee (Marvel comic book) and
Steve Ditko (Marvel comic book)

Cast (in credits order)

Tobey Maguire ... Spider-Man/Peter Parker

Kirsten Dunst ... Mary Jane Watson

James Franco ... New Goblin/Harry Osborn

Thomas Haden Church ... Sandman/Flint Marko

Topher Grace ... Venom/Eddie Brock

Bryce Dallas Howard ... Gwen Stacy

Rosemary Harris ... May Parker

J.K. Simmons ... J. Jonah Jameson

James Cromwell ... Captain Stacy

Theresa Russell ... Emma Marko

Dylan Baker ... Dr. Curt Connors

Bill Nunn ... Joseph 'Robbie' Robertson

Bruce Campbell ... Maître d’

Elizabeth Banks ... Miss Brant

Cliff Robertson ... Uncle Ben Parker

Ted Raimi ... Hoffman
Perla Haney-Jardine ... Penny Marko
Elya Baskin ... Mr. Ditkovitch

Mageina Tovah ... Ursula
John Paxton ... Houseman
Becky Ann Baker ... Mrs. Stacy
Stan Lee ... Man in Times Square

Michael Papajohn ... Dennis Carradine/Carjacker

Joe Manganiello ... Flash Thompson
Hal Fishman ... Anchorman

Lucy Gordon ... Jennifer Dugan

Steve Valentine ... Photographer

Tim Maculan ... Play Director

Marc Vann ... Play Producer
Joe Bays ... Jazz Club Manager
Gregg Daniel ... Detective Neil Garrett

Rogelio T. Ramos ... Emergency Room Doctor
Timothy Patrick Quill ... Crane Operator
Menachem Mendel Boymelgreen ... Kid in Times Square
Nasir Stewart ... Kid in Times Square
Austin Hendrickson ... Kid in Times Square
Taylor Hemhauser ... Kid in Times Square
Kathryn Bryding ... Woman Outside Theater

Joe Virzi ... Police Detective
Bill E. Rogers ... New Jersey State Policeman #1
Michael Alexander ... New Jersey State Policeman #2 (as Mike Alexander)
April Parker ... Test Site Technician #1

Edward Padilla ... Test Site Technician #2

Robert Curtis-Brown ... Test Site Technician #3

Paul Terrell Clayton ... Test Site Technician #4 (as Terrell Clayton)

Carolyn Neff ... Test Site Technician #5

Christina Cindrich ... Test Site Technician #6

Sonya Maddox ... ICU Nurse

Andre B. Blake ... Crane Disaster Radio Policeman
Derrick 'Phoenix' Thomas ... Cop at Crane Disaster (as Derrick Thomas)
Jessi Collins ... Mary Jane’s Replacement
Michael McLaughlin ... Boy at Keys to the City Ceremony
Anne Gartland ... Councilwoman

Emilio Rivera ... Policeman at Sand Truck #1
Keith Woulard ... Policeman at Sand Truck #2
Reynaldo Gallegos ... Armored Car Driver
Jim Coope ... Newsstand Patron #1
Dean Edwards ... Newsstand Patron #2

Margaret Laney ... Newsstand Patron #3

Toni Wynne ... Congratulatory Woman at Daily Bugle

Aimee Miles ... Coffee Shop Waitress

Tanya Sinovec ... Jazz Club Waitress

Mark Kubr ... Jazz Club Bouncer
Emma Raimi ... Girl with Camera
Lorne Raimi ... Boy at the Final Battle #1
Henry Raimi ... Boy at the Final Battle #2

Samantha Ressler ... Girl at the Final Battle
Alan Cohn ... Jazz Club Musician

Dan Callahan ... Jazz Club Musician

Ron King ... Jazz Club Musician
Carol Chaikin ... Jazz Club Musician
Dan Cummings ... Jazz Club Musician
Vance Hammond ... Jazz Club Musician
rest of cast listed alphabetically:
Maya Rosewood ... Charlie's Mom
Abbey Skinner ... Cafe Girl

Produced by
Avi Arad .... producer
Joseph M. Caracciolo .... executive producer
Grant Curtis .... producer
Kevin Feige .... executive producer
Stan Lee .... executive producer
Laura Ziskin .... producer