When Marc Webb was announced as the next director to helm the “Spider-Man” series, more than a few eyebrows were raised (including my own). With only “(500) Days of Summer” under his belt, Webb seemed like an odd figure to entrust with a multi-million dollar franchise. While that film showed a true creative mind at work, its exuberant eclecticism was not an obvious fit for a series that had been rather somber under the guidance of Sam Raimi.
None of these qualifications showed at all in his first outing with the arachnid hero, 2012’s “The Amazing Spider-Man,” which slavishly recreated the hero’s mythology for the generation that didn’t see the 2002 version in theaters or in its million syndicated cable showings. The reboot felt timidly directed by Webb, whose trepidation at approaching a new genre of filmmaking was clear.
In his second go-round, “The Amazing Spider-Man 2,” glimpses of his distinctive stamp on the series become a little more clear. One scene in particular where Andrew Garfield’s Peter Parker angrily puts in his earbuds and makes a map to decipher the mysterious past of his parents seems to directly parallel the sequence in “(500) Days of Summer” where Joseph Gordon-Levitt’s Tom draws a cityscape of Los Angeles. And in one of the film’s final scenes, Webb leaves us with a hauntingly emotional denouement using no words, just powerful images and montage.
Sadly, these small pockets of artistry in the film were few and far between. Though the film as a whole feels more confident than its predecessor, “The Amazing Spider-Man 2” still suffers from the general lack of inspiration plaguing big-budget filmmaking, and especially comic book adaptations.
The screenplay is crafted this time by the Kurtzman-Orci duo that has given us some of the more ingenious popcorn flicks of the past few years (“Star Trek“) as well as some of its biggest duds (“Transformers“). This film falls somewhere in between; it’s good enough to keep interest throughout, but we can see every plot development coming from a mile away.
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