In a world of interconnected ‘universes’, looking back at the middle-child of a trilogy seems old fashioned and out-dated. I mean, why stop at 3 right? But since 2004, the reputation of Sam Rami’s sophomore solo Spidey outing has covertly snowballed into a big ball of nostalgia hurtling down the Hollywood hills, absorbing the love of those longing for practicality and finality whilst leaving CGI and serialisation face down in the crater filled with carcases of copycat cinematic creations.
However, suggesting Spider-Man 2 is a flawless and unblemished merry go round, watching as the theme park of superhero rollercoasters ascends around it, would be a lie. Today I will be asking: does Spider-Man 2 still hold up?
Nowadays, I find it frustrating having to sacrifice my love of creative filmic story telling in order to enjoy the modern superhero flick, which I became addicted to as an infant – forgive me. This is why I find myself often childishly suggesting we whack on Spiderman 2 because what Sami Rami can do with a camera is so playful and charming. Straight out the cinematic storytelling playbook, he uses the language of film and genre perfectly to create scale and emotion. Juxtaposing a murderous slaughter of a dozen doctors with J.K Simmons comedic barrage of insults works, simply due to them being made with such care and precision it would be rude not to simply recline and enjoy. In fact, J.K Simmons’ J Jonah Jameson is so iconic that he’s the only actor to ever survive the rage of the MCU reboot recasts, or maybe they were just too scared to fire him?
WATCH OUT VEGANS! THIS FILM CONTAINS CHEESE! Despite my aforementioned appraisal of the tone, there are plenty of corny moments there to remind you that ultimately you are watching a multi-million dollar summer blockbuster about two people with 8 legs, helmed by a man known for his explicit horror comedies. Even on his second attempt, he couldn’t eradicate moments that, if you haven’t already given in to the nature of the source material, you would think belong in the Topgun dairy farm. Poor Peter Parker with his soppy speeches and his memeable scream, it’s become fashionable to take the piss out of his version of the character, especially with the other renditions readily available should you so require. Nevertheless, Toby Maguire gives the character sincerity and heart, especially his interactions with Aunt May who provides him with a moral backbone. When the film begins to toy with the idea of becoming called ‘Man 2’ (not in the way the Dark Knight Rises Does), it is Rosemary Harris’ gently delivered and inspiring monologue which is there to revive the situation beautifully and maturely, telling him to put on the mask again. But not all the characters were given such attention and care by both Peter and Mr Rami. Harry and Mary Jane are just not likeable characters anymore. Both feeling wronged, they lack the empathy that the audience has with Peter, providing a non-wall crawling problem rather than a sticky situation, as he attempts to balance his crime fighting with his personal life. As far as thematic tones go during the 2000s, this on the ‘X rated mature’ side for superheroes, ‘underlying’ messages regarding puberty, love sickness and responsibility (sorry) propel the story forwards in a way paralleled only by the more modern flicks such as Logan where scale and steaks become as much a vital component as they are to a chef. Two words which create variation within the genre and provide the audience with different emotional triggers.
If smaller scale with real steaks is the meal then special effects, location and the score are the ingredients.
FACT 1: CGI works best when you don’t notice it. *Interstellar
FACT 2: People still prefer practical effects. *The Thing
FACT 3: People are more forgiving of out-dated CGI than other faults. *Star Wars
Now we are aware of the ‘facts’ I think it is fair to say that, for the most part, that it works. You are rarely taken out of the film in the same way you are in its predecessor. Occasionally during the day, some of the speedier shots don’t hold the weight of the real person but the use of practical and digital technology in combination is very good. Doctor Octopus looks incredible and is the reason it won the VFX Oscar. It’s used to full effect during the climactic train fight scene where the lack of a flying camera (maybe one day) and imaginary Manhattan over ground would render it particularly difficult to film however, it’s pulled off with flying colours and with an intensity comparable with Speed… the film!
Danny Elfman scored the film and it is amazing, seriously incredible. On a level with the very best of Williams and Zimmer, who, as a three, have seemingly scored every superhero film ever? The score adds so much, especially during those swinging bits – makes me all giddy it does.
So, does it hold up? Yes! As you may have noticed, I like this film and it really stands true against the barrage of Super Hero films over the last decade or two. In fact, I’d say it’s within the top 5 of the genre on a filmmaking level and is an enjoyable and comedic action thriller through the eyes of the uninitiated cinemagoer who only likes boring arty films like the Godfather. Yuck.
Does it hold up? 