Review: The Amazing Spiderman

Year: 2012
Director: Marc Webb
Screenplay: James Vanderbilt, Alvin Sargent, Steve Kloves
Starring: Andrew Garfield, Emma Stone, Martin Sheen, Rhys Ifans, Sally Field

Synopsis is here, but also here, with parts here also.


A friends Facebook status gave the kind of sharp review of The Amazing Spiderman that most people respond to these days. In a world where 140 characters seemly affect people in a more direct way than essays and articles, labelling the film as "utter gash" will obtain way more response than whatever dross I vomit up in this blog.

While I don't fully agree with his analysis, I know that the next time we sink some tins of tyskie, I do feel we'll both agree that The Amazing Spiderman is as unnecessary as the 3D glasses I had to take to the cinema to wear. It's bad enough that that once again, 3D does little to prove its worth for a tent pole release. But the fact that the film that the effect is attached to can't make up its mind on whether it's an actual reboot or otherwise, provides a certain amount of disenchantment.

The Amazing Spiderman really does feel like a product of a company clinging onto the franchise. Sony don't appear desperate (product placement aside). However, the films needless demand to once again show us how Spiderman got to be, does little to change the fact that the film is a contrivance. The lack of ideas continue as without Sam Raimi (Script issues, unmoving release date), recycled bits of the original plans look like they've been slotted awkwardly into wherever fits. It also feels like they've spent too much time wondering what Warner Brothers were doing with DC material.

In hiring Marc Webb, we've been given 500 days of Spiderman Begins. A film which spends most of it's time targeting the high angst of the teen characters and mimicking the slightly grittier tone that The Dark Knight made its own. But while Christopher Nolan successfully crafted a comic book series that spliced its pulp roots the director's own obsessions, TAS comes to us a bit of a hodge podge. The film makes a bigger push of Peter Parker's powers as a metaphor for teen growing pains. But all the images of a hooded brooding Parker acting all Nirvana, reminded me of the reason I enjoyed Raimi's films in the first place. In fact it's something that Joss Wheedon's Avengers remembered; it's ok to have fun with these heroes.

The problem is that The Amazing Spiderman spends just so much time navel gazing, that I lost what I found so engaging from before. Raimi's Spidermans were board and a little bit silly, but they didn't feel like they had to hide that. In fact, they fully embraced it, reminding me of the 90's cartoon series that I grew up with. There was just more vibrancy originally.

This isn't to say Webb's film is a travesty. I'm sure TAS, has its fans who read more comics than me who can honestly say it's closer to the version they expected the first time around. Webb brings some interesting visuals to the table, and while the performances don't feel as earnest as those that have come before it, they're certainly stronger in other areas. The chemistry between Andrew Garfield and Emma Stone is charming, while placing Martin Sheen in the Uncle Ben role was a well played stroke. It's quite clear that Webb's strength is in the interactions of the actors.

Unfortunately, this doesn't stabilize the films awkward plotting and general poor usage of characters. Other than being the first love of Peter Parker, the film isn't sure of what to do with Gwen Stacy, while the plot thread involving Uncle Ben is dropped quicker than a hot potato. Why reboot this aspect, if Peter isn't going to be that bothered with it soon afterwards? Elsewhere, Rhys Ifans tries to update Brundlefly for the twilight generation, but unfortunately is given a villain that lacks the creepiness of Willem Defoe's Green Goblin or the pathos of Alfred Molina's Doctor Octopus. Much like the film's action set pieces, Ifans' villain struggles to escape the shadow that Raimi has cast.

Still, I say this while the film made a killing at the box office (although knocked off the top spot in the U.K by Ice Age 4 as of posting this). This only helps the film disprove the idea that people desperately want original films. But in counting the amount the Xperia phone shots that hang from this tent pole. It seems to me that Sony's belief that branding is best in this cinematic world is correct when the numbers are that good. Money talks.

(500) Days of Summer

Year: 2009
Director: Marc Webb
Screenplay: Scott Neustadter & Michael H. Weber
Starring: Joseph Gordon-Levitt, Zooey Deschanel

Honest, Emotional, Funny. That's not what everyone wants from a romantic comedy but it's those three things that I personally need when I watch one. In the same way that horror films should be unnerving, Rom-com's should be able be to from the heart as well as amusing.

Opening with a sketched scene (you'll see) that fans of Juno would be proud of (500) Days of summer has a whiff of "Hollywood quirk" to it. However, in no way does this stop the film from being a cheap imitator, no far from it. (500) Days of Summer is an unbelievably sincere movie. But even it was following the footsteps of the Juno's, Little Miss Sunshines and the rest of them, it would still appear more fresh then the latest manufactured Matthew McConaughey/Kathrine Higel/Kate Hudson piece of filth that litter the cinematic landscape.

Librally playing with time as if it were Quentin Tarantino in the 90's, the film jumps to various moments of the "relationship", but not in chronological order. It's hard to fully keep up with the numbers but that's not important. The point is the insight of perspective that the time skips give. The juxtaposition of scenes makes moments of the film which could have been uninspired in lesser films hilarious. But it also makes the realisation more painful. An awkward, strained trip to Ikea, becomes a cheerful romp through the fake rooms as the happy "couple" play husband and wife (big metaphor there) and you grin your arse off, if only to realise how truthful it is.

What makes (500) Days so good is how accurate it's observations are. During the movie you may finding yourself siding with our protagonist, I mean why isn't Tom's affections reciprocated? Why is this girl sending such mixed signals and after the film. Yes, it's the unreliable narrator that is our protagonist. The film is on Tom's side...a little too much. One character's mentions that Tom should look back at the relationship and realise that Summer may not be the girl of his dreams. The brief montage shows that Tom cannot, because he is in love with the IDEA of Summer so much so that he has blinded the actual reality. The lack of scenes with Summer at the helm only help prove it.

The film's accuracy stems from the carefully observed moments of madness the film captures. I've done the karaoke thing, I've stopped listening to bands because of certain women (I can't look at the beatles in the same way) and as for the outbursts? Just ask my mate rob about me on my 20th birthday yelling about dying alone. We pick these moments and we laugh because it's true (but also because of the sharply written script).

It also helps as it's shown by a male perspective. No I'm not being sexist, it's just refreshing. This is a genre that almost only caters for women. Also, the rom-com these days merely wishes to revel in the simplistic shallowness, improbable aspirations of male perfection, and of course unrealistic happy endings that the disgusting characters don't deserve. Here we have a man who is not just a handsome mouth breather but a young optimistic man who may be a little too needy.

This is a role played impeccably by Gordon-Levitt. My girlfriend stated that he has an "interesting" face and I argee. It's what separates him from other male actors. By not looking like a clean cut leading man, Gordon-Levitt elevates the performance even more by having a face that could fit well in a crowd. He plays against a women who could be considered by a few to be the next Parker Posey. Zooey Deschanel is all cute grins and sparkly eyes at first but the inside of the character displays a rich Independence. An Independence that isn't merely shown by the fact that she can be sexual, but its shown by her boldness around people. She's not a damsel in distress, nor is she a cold heart bitch, merely real.

Director Marc Webb a music video director, makes the film great to look at but doesn't let the look over power the film. In fact his visual tricky only enhance the emotions that Tom feels (the french new wave scene had make giggling). There's some great story telling at hand, and although some the metaphors are heavy handed (a t-shirt saying love will tear us apart? COME ON!), the film won my heart with it's wicked sense of humor (watching porn together?), visual playfulness and a chemistry between the two leads (and some strong support) which plays off remarkably well.

The film He's just not that into you had some horrible cynicism coated with sugar to pretend it was trying to be truthful. It was bollocks. Watch this instead, giggle with glee as Tom makes a fool out of himself, then cringe when you realise that you've done it too.