The Amazing Spider-Man.

Review #1780: The Amazing Spider-Man.

Cast: 

Andrew Garfield (Peter Parker / Spider-Man), Emma Stone (Gwen Stacy), Rhys Ifans (Dr. Curt Connors / The Lizard), Irrfan Khan (Rajit Ratha), Denis Leary (Captain George Stacy), Martin Sheen (Uncle Ben), Sally Field (Aunt May Parker), Campbell Scott (Richard Parker), Embeth Davidtz (Mary Parker), Chris Zylka (Flash Thompson), Embeth Davidtz (Mary Parker), C. Thomas Howell (Jack's Father), Jake Keiffer (Jack), Kari Coleman (Helen Stacy) Directed by Marc Webb.

Review: 

"I wanted it to be more grounded and more realistic and that went for the emotion of the scenes, the physical action and wardrobe. It's less based in Steve Ditko world and probably closer visually and more influenced by "Ultimate Spider-Man" but it is also very much a world of our own devising."

Did you know that five years passed between Spider-Man 3 (2007) and this film? Well, I guess I should be surprised, but I really am not. Honestly, it is weird that I finally got around to this film just before it turned ten years old, and yet here we are nearing six decades since the creation of the comic book character. Admittedly, it made sense to try to re-invent a new interpretation of the comic book character. After all, this is the first one to feature artificial web-shooters (like in the comics), and it follows the tradition of casting lead actors playing "teenaged" superheroes while nearly pushing 30 years old. The film was written by James Vanderbilt, Alvin Sargent and Steve Kloves (you would recognize the middle name as the writer of last two Spider-Man films). At the helm to direct was Marc Webb, best known for his debut feature in 500 Days of Summer (2009), and he would do the subsequent sequel two years later.  I suppose we've gone from "dorky" Peter to "outcast" Peter, complete with a full-fledged dive into the high school experiences of the friendly neighborhood Spider-Man and the perceived mysteries of his parents (for which some of this is taken from the Ultimate Spider-Man comics, which had begun in 2000).

It isn't a bad thing to be a mediocre movie, but it is a weird thing to make a mediocre superhero movie that basically serves as a retread of the 2002 Spider-Man that to me suffers the distinct quality of self-serious sickness. Maybe each film reflects the growing trend of the decade they were made in, but I found it to be a movie that is practically straining to pull off its tricks (new and old) that only succeeds in making the average comic book movie "amazingly" average because I only care to a certain point about the attempts at a "darker" interpretation of this hero. The memory of the old films lingers hard here, and it is confounding that it never manages to even rise above Spider-Man 3 despite having less clutter when it comes to villain composition or storylines (although with a 136-minute run-time, at least it isn't quite as long as it could be). Really if you think about it, the best way to keep the ball rolling with superhero films when changing actors might as well just follow the James Bond route and just roll with things with whatever mood you want to go with (such as going from A View to a Kill (1985) with The Living Daylights (1987), if you get my drift). Heaven knows one doesn't need another sequence of a bunch of New Yorkers rising up and helping Spider-Man.

Garfield, at the very least, makes a definable mark on the lead role that shows a touch of angst to go with loneliness and cockiness that shows the potential in a vulnerable hero. For the most part it works out, with likely the most interesting scene being one where he says just what his name is when saving a kid on a bridge (see, not every moment a masked hero taking off his mask is eye-rolling). Granted, the quips might take time to get used to, but at least he seems comfortable with the role and all that comes with having to follow the tradition of pretend-normal high schooler. Stone basically weaves her way through a role that would have weighed down a lesser actress (i.e., this could have been a role of mush). Regardless of if one knows the character or not, she makes it work with plenty of patience and charm that results in palatable chemistry with Garfield (your milage may vary, of course). In theory, the Lizard is an interesting villain to put on screen (the character, not the alter-ego, was in the last two films). However, he only is interesting when it is Ifans on screen as himself, not so much when he is turned into that CG render that looks like a silly slug. Sure, trying to strive for perfection without weakness can be interesting to ponder for a villain, but seeing it come out of a slug makes it hard to reconcile with the urge to snicker. Think about it: you have a guy going around as a lizard that at one point comes out of the toilet of a high school right before he delves into a plan about spreading gas around to turn people into lizards (well, "reptilian" would also be a suitable word to use, but either word is still funny to say out-loud).

The strangest thing is that the weak link among the supporting cast is Field (Khan doesn't count, since he is more a victim of the "comes-and-goes" box). She has admitted to not particularly enjoying the role, doing it more as a favor (specifically to friend and producer Laura Ziskin) that described it as one that you "can't put ten pounds of shit in a five-pound bag." (as quoted in 2016, which I guess applies to both features). Again, not to beat the dead horse of "the previous movies", but the role-from-five-years-ago had a bit more to really do when it comes to interacting with the lead character. Here, she pretty much has a handful of sentences that don't go anywhere that Rosemary Harris had done three films ago. Sheen is engaging for what is needed in patience (basically saying that quote about responsibility and power without having to just say it). There is probably something to be said about featuring Scott and Davidtz in its opening that seemed to hint at something "mysterious" when it comes to the parents of Spider-Man, but I'll be damned if I can give one single iota about it. Leary breezes through cliches with strange ease (one doesn't try to picture him suddenly break out into "standup", at least). As a whole, the movie is the equivalent of taking a few years off between going on an amusement park ride: sure, maybe something is different, but in the end it is just familiar motions to varying effect. There are certain times when the effects for showing the web-slinging ride can work out to interesting effect (no points for wondering how it looked in 3D), and the action sequences are decent for what is needed, which means that Webb basically managed to make a safe film that does the minimum and doesn't stumble. In that sense, that is probably the best endorsement one can make for a curious viewer.

Overall, I give it 7 out of 10 stars.