Spider-Man 2 – 2004, Sam Raimi
There has probably been no film that I’ve anticipated more in my whole life; the summer of 2004 I read everything written about it, watched every trailer, thought about it all the time. The sequel to 2002’s ‘Spider-Man’, which was a good if not great movie, ‘Spider-Man 2’ totally lived up to the hype it earned from me. It is without a doubt the best comic book adaptation ever made. The first thing worth noting is how well it works as a sequel; this feels like the next chapter, not a re-tread, not a straight continuation, it’s removed in time but not in character. These people are not identical to who they were when we left them 2 years ago, but they’re the same characters, simply matured. I can’t think of any series that handles this transition so well, and it’s a bold move to set a sequel the same time removed as the film is itself. Like dropping in on an old friend, things aren’t exactly how we’d expect. Peter is living alone in an awful apartment, struggling to juggle his life as a student and a superhero, all the while feeling his desire for long time love Mary-Jane, but knowing he can never be with her. For a start, this makes us care about Peter, he is one of us, we empathise and are interested in who he is. Usually in a superhero film, we really don’t care about who’s under the mask, we came for action. In this case, that’s not true, the Peter Parker scenes take up the bulk of the film, and rightfully so. When Peter gives up being Spider-Man, we don’t really mind, we’re too caught up in how good this choice is for his life, not our adrenaline lust. But what makes the film so good, is it doesn’t slouch when it does come time for some action, every fight and set piece is dynamic, well paced and exciting. Raimi’s talents really lie in composition, almost every shot is so well put together, and he’s had huge help from a great design and lighting team. The earthy autumn tones are mixed with deep blues at night, but it never feels too garish. Danny Elfman’s score is a little less in your face than his usual work, but is integral to every moment of the film. There is real emotion in the main performances, Maguire and Molina both especially great, Molina an improvement in enemy to Dafoe in the previous picture. James Franco is the surprising weak link in the cast, not as capable at the more dramatic scenes as he is when he holds back. For example, he’s great early on when asking peter if he knows who Spider-Man is, but his scenes of anger and shock near the end lack the reality given by others in the film. And it’s that reality that makes this film a cut above the usual blockbuster. There’s action and super-heroism, enhanced with depth and heart, and made with true talent from all involved.
Best Moment: Spidey’s right on time for his meeting with Doc Ock at the top of a clock tower, and we’re right on time for one of the best, most dynamic fight scenes ever filmed, tumbling through New York and onto a runaway train.
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