Spider-Man 2

[bix171]

A long-awaited return to form for Sam Raimi, his best film since “Darkman”. This sequel to his hyperkinetic, indifferently made entry into the comic book adaptation genre is far more pleasing than the first, perhaps because the first’s success has relieved Raimi of the stress of delivering a hit; he seems more relaxed, more focused on bringing craft (though the special effects still seem a little spotty) and depth to the project. He delivers an adult feature this time around, with scenes a bit more sadistic (one set piece in an operating room is particularly intense—and effective because it momentarily abandons Danny Elfman’s very fine score) and a grown-up perspective on the goopy romance of the first film. The organic conceit of the drama isn’t new, carrying the basic psychological construct of an awkward adolescent’s search for a place in the world into young adulthood as Peter Parker (Tobey Maguire) finds difficulty reconciling his outsider status with everyday responsibilities; but in fact, by the end of the film, the main character is revealed to be Mary Jane Watson (Kirsten Dunst) who has gone from the confused uncertainty of her relationship with Parker to a complete understanding of her role in it. (The actors, given more to do, are appealing here, though Dunst and Maguire are still too slight to solidly impress.) There’s some genuine humor in Alvin Sargent’s dependable script (this time there’s a gentle ribbing of arrogant New Yorkers as opposed to the last film’s post-9/11 reverence of them) and Alfred Molina’s Doc Ock is an effectively conflicted villain; but Raimi’s real connection is with one of the story writers, Michael Chabon, whose novel “The Amazing Adventures Of Kavalier And Clay” affectionately recreates the golden age of comic books and whose unique insights are in harmony with Raimi’s love of that era’s art and horror film genre (this film and “Darkman” are passionate homages to Universal Pictures), while Bill Pope’s photography of the Manhattan skyline evokes a yearning for the innocent era Chabon’s book so exquisitely captured. Visually and emotionally satisfying, it’s good to see such traditional movie-making as Raimi’s in this day and age.

[cinemabon]

I was so blown away by this film, I rushed back home to pinch myself to make certain I hadn't dreamed that someone could make a film in this genre that was any good. After going to Rotten Tomatoes, I got my answer. The site was flooded with the same kind of shock on everyone's lips. Raimi had done it this time. From Ebert to A. O. Scott and inbetween, everyone was singing the praises of this movie.

*****************SPOILERS***********************

There are so many scenes and images that left an indelible impression:

The iconoclastic opening timed with the pulsing Spiderman score by Danny Elfman, using paintings of scenes and characters from the first film that tie into the opening of this one. Brilliant.

The elevator scene... talk about hilarity. At first it was uncomfortable for the audience. They didn't know how to react. It looked like a scene Blake Edwards would create.

The final shots of Doc Ock... with his face against the sun, the fade out under the water... the coversations of affection toward his girlfriend... no fiend ever had a juicier part or redemption.

Spidey's girlfriend caught in the hero's web... that shot alone is a bread and butter shot, like the end of "Jurassic Park" where the dinosaur screams as the banner "When Dinosaurs Ruled the Earth" falls in the background. Outstanding and significantly symbolic.

The script by Alvin Sargent, two time Academy Award winner for "Julia" and "Ordinary People" far surpassed anything we'd expect in this genre. Give another million to him and the man who hired him.

The level of acting from little Toby far surpassed his pining in the first film. Here was genuine pathos for the lovable loser who couldn't even please his steadfast Aunt May. Maguire delivered the goods.

Then there was Kirsten Dunst, whose timeless gaze and classic beauty opens and closes the film in what can surly be two different meanings from those searching eyes.

Finally, the scene that moved many to tears... the subway/elevated train sequence. Starting with a breakneck pace through town in which your nerves are on edge until the last possible second. The man is out of steam, seemingly doomed for the sea and falling... then mysteriously, hands reach out to save him, and bear him gently like carrying Christ's body from the cross. The symbolism couldn't be missed. Here was their savior, now unmasked and vulnerable. It was an outstanding moment in the history of film. Nothing in this genre compares to it. The only thing close might be the original "Batman" and "Superman", but they had many moments that weakened each picture.

Raimi has woven a fine tapestry of images and sound into a wonderful story that takes you on an unpredictable ride. And that's what we all want when we go to the movies... a really good story that is told well. Thanks, Sam. Now your in the small club of Jackson and Coppola for giving us sequels better than the originals.

[HorseradishTree]

And for the third time, I LOVE THIS MOVIE. If there's one movie to see this summer, this is one of them. Zing!

But seriously, see it. If you don't, I think I might know where you live. Not too sure, but I'll find you eventually. And when I do...ooohhh why I oughta!

[tabuno]

"Great writing" and I don't mean the movie script, I mean the posted messages here. I can only dream that I could so eloquently creative as masterful commentary about Spiderman 2 as you two have done here as bix171 and cinemabom. Sigh!