The Amazing Deja-Vu Man-Spider

Sam Raimi’s 2002 Spider-man invented the Universal Superhero Origins Playbook and played it step by step…so much so that it felt over-familiar even though no one had done it that well as an entire movie from start to finish before (Superman The Movie doesn‘t count as it‘s really only the first hour of that film that‘s pure, refined genius). Spider-man was the very superhero movie template Hollywood studios had been looking for; a self contained story where the villain was personally connected to the hero which was broadly entertaining and appealing to a wide, mainstream audience. By contrast, The Amazing Spider-man trades the lighter tone and the fun factor for a more subtle, more authentically emotional character experience…something Raimi realised you didn’t have to trade at all by combining subtle, affecting drama, comedy romance, fun and spectacle in the awesome Spider-man 2.

To me it very much is an equal result that director Marc Webb has managed to get out of his Spider-man reboot; just as entertaining as Raimi’s effort…but very different in how it gets there. The biggest problen the reboot has to overcome is the fact it’s a reboot at all. That mean only a decade after the introduction of Spider-man to the big screen we have to slog through the familiar origin story yet again. No matter how good anything is in The Amazing Spider-man whether it’s the performances, the effects, the drama or the direction, you are always burdened with the thought of “Well, here we go again.” You’re constantly being distracted by the impulse to fast forward because you know what’s going to come but the confident direction always keeps us riveted for new riffs on the familiar situations.

The performances are excellent. Andrew Garfield makes for a more edgy Peter Parker than Toby MacGuire’s endearing hapless everyman. He’s more abrasive and moody, sarcastic, often distant and agitated, but he makes Peter sympathetic and soulful. Emma Stone gets a more pivotal role in the plot than Kirsten Dunst’s scream queen although she still ends up being little more than the romantic interest. However it’s a testament to her considerable wit and genuine movie star charisma that she’s able to energise the screen whenever she’s around. Rhys Ifans and Dennis Leary tone down their broader, comedic tendencies to deliver authentic, grounded performances while Martin Sheen’s Uncle Ben provides the sincere, steadfast heart of the story. It’s only Sally Field’s under used Aunt May that feels short-changed, feeling like she’s being set up for the sequels.

Tonally this is much darker and more low-key than the Raimi universe which is supported by some gorgeous cinematography and a wonderfully haunting score from James Horner who even goes onto provide a strong theme this time out (something lacking in many superhero exploits considering the genres booming popularity.) To it’s credit there’s more of an indie feel before it transitions into a broader super villain vs. super hero studio venture in the second half. It’s this stuff, with Spidey pitted against his father’s old laboratory partner…who’s now turned into an 8 foot Lizard monster…that feels the weakest. Despite a good try the Lizard plot never feels organic to the plot and the confrontations lack surprise.

Fortunately there’s plenty of funny, charming and memorable sequences that lift The Amazing Spider-man into something very enjoyable indeed. With the origin story now retold and Webb having demonstrated a confident and human handling of the material, one can’t help but wonder if he has a more complete package along the lines of Spider-man 2 to give us. If he can raise the super-heroics to the level of the drama, Raimi’s sequel might just have some competition.