Director: Marc Webb
Writers: Alex Kurtzman, Roberto Orci, Jeff Pinkner
Stars: Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan
Release Date: April 17th, 2014
Distributor: Sony Pictures Entertainment
Running time: 142 minutes
Best part: Garfield and Stone’s chemistry.
Worst part: The hokey villains.
At one point in Sam Raimi’s Spider-Man series, pithy geek turned super-powered saviour Peter Parker/Spider-Man (Tobey Maguire), after fighting off the Sandman, empties sand out of his shoe and says to himself: “Where to these guys come from?”. Ideally, this question can be applied to every comic-book/superhero franchise. It’s a good call – pinpointing the absurdity of having super-powered ne’er-do-wells attack these superheroes one after another. Spider-Man’s latest offering, The Amazing Spider-Man 2: Rise of Electro, attempts to answer Peter’s question. Sadly, the final product is significantly less than amazing.
Obviously, the conflict between the original Spider-Man trilogy and Sony’s new Spider-Man saga is a major talking point here. With the 2012 reboot released five years after the much-maligned Spider-Man 3, this franchise contains a strong “too soon” vibe. However, for commercial success’ sake, the relevant studios have ignored pop-culture’s critical backlash. Unfortunately, these studio-fuelled quarrels hit The Amazing Spider-Man 2: Rise of Electro like one of Spider-Man’s wily punches. The plot, to put it simply, tangles itself into a convoluted and incessant creation. Here, much like 2004’s Spider-Man 2, Peter (Andrew Garfield) is struggling to balance his personal and professional lives. Should he protect New York’s citizens as the wall-crawling arachnid or look after long-time girlfriend Gwen Stacy (Emma Stone) and Aunt May (Sally Field)? Breaking his promise to Gwen’s father, Captain George Stacy (Denis Leary), to stay away from her, Peter is torn between his life’s most important strands. Unfortunately, or fortunately depending on your relationship with Spidey’s comic-book saga, the narrative delivers several sub-plots and cartoonish characters. Some of these include Aunt May heading back to nursing school and Gwen being accepted into Oxford University. Believe it or not, eclipsing these already unnecessary subplots, the narrative throws even more strands into its already bloated and top-heavy structure.
Obviously, there’s way too much going on in Spidey’s latest cinematic endeavour. Notorious blockbuster screenwriters Alex Kurtzman and Roberto Orci (Transformers, Star Trek) spray their frustrating screenwriting ticks all over this sequel’s intriguing premise. Backed up by fellow screenwriter Jeff Pinkner, their needlessly convoluted and sketchy screenplay forms an inconsistent and cheesy web of plot-lines, character arcs, tragic moments, and predictable revelations. Sadly, it’s as if this particular universe means nothing to these infamous screenwriters (other than a hefty paycheque). This instalment, striving to overlook the now two-year-old reboot, is treated like yet another mindless and glossy jumpstart. Overtly, the narrative and Marc Webb((500) Days of Summer)’s direction are strongly influenced by preceding superhero/action-dramas. For the first third, The Amazing Spider-Man 2: Rise of Electro strives to string Raimi’s trilogy, the Dark Knight trilogy and Marvel’s Cinematic Universe into its dense, labyrinthine structure. Despite containing several of the original’s foibles, I will give credit where it’s due. Unlike the original, this instalment doesn’t blatantly copy one of Raimi’s efforts. However, temped to make more web puns, I’m still perplexed by this movie’s flaws. With a $200 million+ budget anchoring this sequel, the movie’s tonal and pacing issues are more obvious than Spidey’s web-based “I Love You” signals.
Aiming to be bigger, broader, and ballsier than previous flicks, this instalment’s reach drastically exceeds its grasp. After mistreated dweeb turned freakish monster Max Dillon/Electro (Jamie Foxx) and long-time confidant turned slimy adversary Harry Osborn/Green Goblin (Dane DeHaan) are introduced, the story suddenly decides to crawl toward its explosive and miscalculated final third. Setting up conflicts for future instalments, the second half’s dour side clashes with its more over-the-top moments. Seeking a Tim Burton/Batman vibe, the kooky villains’ motivations, heart-wrenching twists, and bizarre alliances overthrow the first half’s light-hearted and comedically savvy tone. The movie, advertising itself as “the untold story”, almost immediately forgets about Peter’s missing parents. The movie’s emotional stakes rest on Garfield and Stone’s shoulders. Fortunately, their sweet-natured performances lend a romantic-comedy tinge to this laboured superhero-action flick. Despite their nonsensical roles, Foxx and DeHaan deliver fun performances as Spidey’s snivelling adversaries. Unfortunately, Paul Giamatti, Martin Csokas, Chris Cooper, B.J Novak, Colm Feore, and Felicity Jones suffer through thankless roles. Sadly, the characters, though likeable and occasionally sympathetic, are as inhuman and ridiculous as their superpowers. Peter and Stacy’s relationship flip-flops between cheerful exchanges and soppy admittances. Worse, however, is Osborn and Electro’s involvement in Oscorp’s shady wheelings and dealings.
“You know what it is I love about being Spider-Man? Everything!” (Peter Parker/Spider-Man (Andrew Garfield), The Amazing Spider-Man 2: Rise of Electro).
Ultimately, apart from telegraphing certain events, these interactions stall an already disjointed and vacuous tale. Fortunately, Webb injects his signature style into several sequences here. In fact, some scenes, when judged on their own, come off like acclaim-worthy highlights lifted from this shoddy misfire. With this instalment being a compilation of disparate concepts and set pieces, Webb’s style heightens its interest factor above tedium. Certain sequences, charting Peter’s descent from misguided simpleton to mischievous and miserable vigilante, add class and charm to this overcrowded extravaganza. Several montages, depicting changing seasons and super-heroic acts, track Peter’s bizarre life story. In addition, saving certain sections from becoming laughably earnest, Webb’s action-direction vastly exceeds his previous efforts. With Spidey flying through the sky, his web-swings deliver gloriously thrilling adrenaline rushes. Overcoming the under-utilised villains, the stakes are raised with each sprawling action sequence. Spidey’s first action sequence pits Peter against a car chase and his graduation ceremony. This conundrum, complete with Spidey’s sarcastic wit, commendably kick-starts this instalment. Meanwhile, Spidey and Electro’s showdown in Times Square almost rectifies this antagonist’s inclusion. However, nowadays, this whiz-bang stuff is expected of every big-budget tent-pole. Despite the movie’s glossy sheen and thrilling moments, its major issues intrinsically poison an otherwise enjoyable blockbuster.
Today, we expect our blockbusters to entertain us and re-shape the Hollywood system. Fresh ideas and brilliant minds keep audiences coming back to these exhaustive and over-long adaptations (thank you, Joss Whedon). Unfortunately, The Amazing Spider-Man 2: Rise of Electro is a case of too many cooks, and crooks, spoiling the broth. With plot-threads, character arcs, and Easter eggs clashing with tonal shifts and tiresome pacing issues, this sequel, fittingly, gets stuck in its own gargantuan web (last one, I swear).