Search
Search results
Merissa (11731 KP) created a post
Feb 17, 2022
David McK (3207 KP) rated Spider-Man (2002) in Movies
Oct 3, 2021
"Remember, Peter: with great power comes great responsibility"
2002.
So that's back before the Marvel Cinematic Universe was a thing (Iron Man was '08).
It's also not long after the twin Towers disaster, which - I believe - had to be edited out of this film.
This was also the first big-screen take on Spider-Man, with a mainly 20 something cast all playing characters in their late teens, headlined by Tobey Maguire as Peter Parker/Spider-Man and by Kirsten Dunst's redhead Mary-Jane Watson.
The early portions of this movie basically retells Spider-Mans origins story (although, here, Parker is bitten by a Genetically modified Spider instead of a Radioactive one and does not need web-shooters: they come out of his actual wrists), complete with the death of Uncle Ben who gets to utter the immortal lines to Parker that 'with great power comes great responsibility'.
Yes, Stan Lee makes a 'blink and you'll miss it' cameo.
Yes, the soundtrack owes a fair deal to that of 1989s 'Batman'
Yes, the Green Goblin costume does look a bit like a Power Rangers reject.
Yes, the film still holds up nearly 20 year later: there's a reason that 'upside-down' kiss is now iconic!
(Oh, and TK Simmons J Jonah Jameson? *Chef's Kiss*.)
So that's back before the Marvel Cinematic Universe was a thing (Iron Man was '08).
It's also not long after the twin Towers disaster, which - I believe - had to be edited out of this film.
This was also the first big-screen take on Spider-Man, with a mainly 20 something cast all playing characters in their late teens, headlined by Tobey Maguire as Peter Parker/Spider-Man and by Kirsten Dunst's redhead Mary-Jane Watson.
The early portions of this movie basically retells Spider-Mans origins story (although, here, Parker is bitten by a Genetically modified Spider instead of a Radioactive one and does not need web-shooters: they come out of his actual wrists), complete with the death of Uncle Ben who gets to utter the immortal lines to Parker that 'with great power comes great responsibility'.
Yes, Stan Lee makes a 'blink and you'll miss it' cameo.
Yes, the soundtrack owes a fair deal to that of 1989s 'Batman'
Yes, the Green Goblin costume does look a bit like a Power Rangers reject.
Yes, the film still holds up nearly 20 year later: there's a reason that 'upside-down' kiss is now iconic!
(Oh, and TK Simmons J Jonah Jameson? *Chef's Kiss*.)
Mike Carlson (115 KP) rated The Amazing Spider-Man: Died In Your Arms Tonight in Books
Mar 18, 2018
Issue 600, plus
This 4-issue collection circles ASM #600 and Aunt May's wedding to J. Jonah Jameson Sr. While there is a lot of creative talent here, many of the stories involve peripheral stuff. Half of the book focuses on Uncle Ben's method of raising Peter, how Ben and May met, the Spider-Mobile, playground kids verbalizing what it would be like to be Spider-Man, Jessica Jones' inspiration, and a tongue-in-cheek couch session for Spidey's changes over the years. All of it is well- handled...just not my first choice for superhero reading.
The book really shines in two stories in particular. The first, "Peter Parker Must Die" has Peter dealing with a Ben Reilly repercussion called Raptor. The second,"Last Legs", contains the return of a physically inferior Doc Ock that wants the leave a lasting legacy. This issue was really good, and even the follow-up, which was a wedding aftermath issue due to a surprise wedding guest, was pretty entertaining.
The book really shines in two stories in particular. The first, "Peter Parker Must Die" has Peter dealing with a Ben Reilly repercussion called Raptor. The second,"Last Legs", contains the return of a physically inferior Doc Ock that wants the leave a lasting legacy. This issue was really good, and even the follow-up, which was a wedding aftermath issue due to a surprise wedding guest, was pretty entertaining.
David McK (3207 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Jan 3, 2021
Headache inducing!
To the best of my knowledge, the first Spider-man film to follow the exploits of Miles Morales instead of the more famous Peter Parker, with Brooklyn teen Miles also getting bitten by a radioactive spider and acquiring new abilities just as Kingpin opens a portal into parallel universes after finally killing 'his' version of Spider-Man, as a (un-intended, from his point of view) result of which various other Spider-verse characters arrive in his universe and start to teach Miles Morales the ropes.
Much has been made of this movie, and of it's soundtrack and attempt to portray comic-book panels on-screen: bot of which, I have to say, I found to be headache inducing rather than the (supposed) 'fresh and vibrant' I had read they were.
Much has been made of this movie, and of it's soundtrack and attempt to portray comic-book panels on-screen: bot of which, I have to say, I found to be headache inducing rather than the (supposed) 'fresh and vibrant' I had read they were.
Ryan Hill (152 KP) rated Spider-Man 3 (2007) in Movies
Jul 1, 2019 (Updated Jul 3, 2019)
"None of that matters now, you're my friend"
After the worldwide success of the first two "Spider-Man" films, director Sam Raimi and the cast decided to take a break. The first two had been shot almost back-to-back, with very little "down time" in between. So, in late 2005, about 18 months after the release of "Spider-Man 2", Raimi began fleshing out ideas for a third storyline. For this chapter, the director wanted to teach Peter Parker about forgiveness; to do so, he'd need a villain with personal ties. The problem was that, besides the Osborn family and Otto Octavius, no villains in the comics had such a huge connection. Raimi didn't want to contradict a well-established character, so he sought one out whose backstory had never been fully realized: the Sandman, whose literary incarnation was little more than a random thief. Connecting the character to the death of Ben Parker gave Peter a huge obstacle that needed facing. Wrapping up Harry Osborn's story was also necessary, since Marvel wasn't sure if James Franco would agree to more chapters in the franchise. The addition of Gwen Stacy (who in the comics, was Peter's first love) was done mainly for the fans, and to create a conflicted love triangle with Peter & Mary Jane. Satisfied with his concept, Raimi told his plans to Marvel Comics; the result was less than expected.
Therein lies my biggest problem with "Spider-Man 3". I liked the Venom character as a kid, but in all honesty having 4 villains in the same film (Harry, Marko, the black symbiote itself, and eventually Venom) was just too much at once. From the standpoint of a fan, I'd have preferred that Venom be saved for a future entry, so he could have taken center stage. By having him alongside both Marko and Harry Osborn, the story became rather confusing for many fans, and the film's box office suffered as a direct result. Overall, this film made less money across the board than its predecessor...all because of corporate greed.
That being said, I still enjoy the film on many levels, but knowing what caused the multi-arc story makes some moments bittersweet. The actors clearly enjoyed this ride, but something in general seemed a bit lacking. Looking back, I realize it was the Venom character. The fact of it essentially being forced into the narrative only made the tale confusing and hard to follow. It became one of those films many people have to watch more than once, just to understand it...and these days, audiences don't have a lot of patience for films with too many angles. Rightfully so, in my opinion.
Tobey Maguire, slipping into the spandex suit for a third try, really shows his acting range here, even more so than his diverse performance in "Spider-Man 2". From intense love to seething hatred (and everything in between), he really brings his game up to a whole new level. Kirsten Dunst shines again as Parker's star-crossed love, Mary Jane Watson. I liked her performance very much, and her singing in the film is beautiful. She's less helpless than in either prior entry, and far more confident. Bryce Dallas Howard (daughter of acclaimed director Ron) makes her first apearance in the franchise as the bubbling, exuberant, and gorgeous Gwen Stacy. I liked her character, but felt she didn't have much to do in the long run.
James Franco does an equally-remarkable turn, finally completing the journey that began at the end of the original film. He gives Harry a blend of jealousy, mystique, and severe determination. He also revisits the lighter tones of his role, for the scenes where Harry has amnesia. And in the finale, he shows that in his heart, Harry was truly a hero. Thomas Haden Church gave Marko both sentiment and menace, and turned what was originally a two-bit thug into a far more interesting character. Topher Grace played the "creepy" card as Venom, and gave Eddie Brock a know-it-all arrogance that makes you almost feel disgusted.
Aside from the criticisms surrounding Venom, I honestly didn't have a lot for this entry. Mary Jane is no longer in a water-drenched position (thank God!), so I was very relieved. I guess my main concern was that there were too many villians should of just stuck with Harry and Venom or Harry and sandman. And for anyone who asks why i haven't put the dancing scenes as a negative. I get a kick out of them what can i say?
Therein lies my biggest problem with "Spider-Man 3". I liked the Venom character as a kid, but in all honesty having 4 villains in the same film (Harry, Marko, the black symbiote itself, and eventually Venom) was just too much at once. From the standpoint of a fan, I'd have preferred that Venom be saved for a future entry, so he could have taken center stage. By having him alongside both Marko and Harry Osborn, the story became rather confusing for many fans, and the film's box office suffered as a direct result. Overall, this film made less money across the board than its predecessor...all because of corporate greed.
That being said, I still enjoy the film on many levels, but knowing what caused the multi-arc story makes some moments bittersweet. The actors clearly enjoyed this ride, but something in general seemed a bit lacking. Looking back, I realize it was the Venom character. The fact of it essentially being forced into the narrative only made the tale confusing and hard to follow. It became one of those films many people have to watch more than once, just to understand it...and these days, audiences don't have a lot of patience for films with too many angles. Rightfully so, in my opinion.
Tobey Maguire, slipping into the spandex suit for a third try, really shows his acting range here, even more so than his diverse performance in "Spider-Man 2". From intense love to seething hatred (and everything in between), he really brings his game up to a whole new level. Kirsten Dunst shines again as Parker's star-crossed love, Mary Jane Watson. I liked her performance very much, and her singing in the film is beautiful. She's less helpless than in either prior entry, and far more confident. Bryce Dallas Howard (daughter of acclaimed director Ron) makes her first apearance in the franchise as the bubbling, exuberant, and gorgeous Gwen Stacy. I liked her character, but felt she didn't have much to do in the long run.
James Franco does an equally-remarkable turn, finally completing the journey that began at the end of the original film. He gives Harry a blend of jealousy, mystique, and severe determination. He also revisits the lighter tones of his role, for the scenes where Harry has amnesia. And in the finale, he shows that in his heart, Harry was truly a hero. Thomas Haden Church gave Marko both sentiment and menace, and turned what was originally a two-bit thug into a far more interesting character. Topher Grace played the "creepy" card as Venom, and gave Eddie Brock a know-it-all arrogance that makes you almost feel disgusted.
Aside from the criticisms surrounding Venom, I honestly didn't have a lot for this entry. Mary Jane is no longer in a water-drenched position (thank God!), so I was very relieved. I guess my main concern was that there were too many villians should of just stuck with Harry and Venom or Harry and sandman. And for anyone who asks why i haven't put the dancing scenes as a negative. I get a kick out of them what can i say?
BankofMarquis (1832 KP) rated Spies in Disguise (2019) in Movies
Dec 7, 2020
Strong chemistry between Smith and Holland
Blue Sky Animation Studios has often been seen as the "poor little sister" in the animation game - behind Disney/Pixar and Dreamworks - and is often listed as the "Ice Age" studio. But, if you look into their filmography, you will see a solid mark of quality throughout.
This studio has delivered solid animated outings with such fare as ROBOTS, HORTON HEARS A WHO, RIO and FERDINAND (along with the myriad of ICE AGE films) and their latest feature - 2019's SPIES IN DISGUISE - is no exception. I was pleasantly surprised by the fun, action, comedy and suspense of this film and was entertained throughout.
Blue Sky, of course, IS the "poor little sister" to the "Big 2" and it shows in some of their casting choices. Where I thought vocal work was being done by Tina Fey and Holly Hunter, I soon discovered that it is Rachel Brosnahan and Reba Mcintyre - not shabby at all, but not quite the "A" team either (it's like you are listening to the Broadway replacement actors for the Original Cast).
That is probably because they spent all of their casting money on the 2 leads - Will Smith and Tom Holland - and they are TERRIFIC together. Unlike Holland's lackluster (and lack of chemistry) turn with Chris Pratt in the PIXAR film ONWARD, Holland and Smith work well together in this film and I enjoyed their interactions with each other. Of course, Will Smith is in a league of his own when it comes to charming, cocky adventure hero with raw emotions and a soul - and that is EXACTLY what his character is and it works very, very well. Add to that Holland's riff on his Spiderman Peter Parker character - a scientific genius who is socially awkward and we have a fun duo to root for throughout this film.
Other outstanding voice talents in this cast include Masi Oka (who's voice would be terrific in just about ANY animation film), Rashida Jones, Karen Gillen and the always good Ben Mendelsohn as the villain.
Directors Nick Bruno (in his Directorial debut) and Troy Quane (in only his 2nd Animated outing) do a professional job keeping the plot moving, the fun brewing and the plot and action scenes simple and easy to follow (an easy thing to screw up) and this makes SPIES IN DISGUISE a very fun escape for an hour and 42 minutes.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
This studio has delivered solid animated outings with such fare as ROBOTS, HORTON HEARS A WHO, RIO and FERDINAND (along with the myriad of ICE AGE films) and their latest feature - 2019's SPIES IN DISGUISE - is no exception. I was pleasantly surprised by the fun, action, comedy and suspense of this film and was entertained throughout.
Blue Sky, of course, IS the "poor little sister" to the "Big 2" and it shows in some of their casting choices. Where I thought vocal work was being done by Tina Fey and Holly Hunter, I soon discovered that it is Rachel Brosnahan and Reba Mcintyre - not shabby at all, but not quite the "A" team either (it's like you are listening to the Broadway replacement actors for the Original Cast).
That is probably because they spent all of their casting money on the 2 leads - Will Smith and Tom Holland - and they are TERRIFIC together. Unlike Holland's lackluster (and lack of chemistry) turn with Chris Pratt in the PIXAR film ONWARD, Holland and Smith work well together in this film and I enjoyed their interactions with each other. Of course, Will Smith is in a league of his own when it comes to charming, cocky adventure hero with raw emotions and a soul - and that is EXACTLY what his character is and it works very, very well. Add to that Holland's riff on his Spiderman Peter Parker character - a scientific genius who is socially awkward and we have a fun duo to root for throughout this film.
Other outstanding voice talents in this cast include Masi Oka (who's voice would be terrific in just about ANY animation film), Rashida Jones, Karen Gillen and the always good Ben Mendelsohn as the villain.
Directors Nick Bruno (in his Directorial debut) and Troy Quane (in only his 2nd Animated outing) do a professional job keeping the plot moving, the fun brewing and the plot and action scenes simple and easy to follow (an easy thing to screw up) and this makes SPIES IN DISGUISE a very fun escape for an hour and 42 minutes.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
RəX Regent (349 KP) rated Team America: World Police (2004) in Movies
Feb 19, 2019
AMERICA! F**K YEAH!
The theme’s lyrics sum up this movie as well as any could have. Made in the midst of the War On Terror in 2004, a satire was needed and who better to provide one than the satirical genius’ Trey Parker and Matt Stone, best known for South Park. On the surface, this looks like a straight forward bawdy adult puppet parody, taking the mickey out of Bruckheimer’s blockbusters, Thunderbirds and the reputation being acquired by the U.S. over the past 30 years but reaching boiling point over the last decade, certainly in a post 9/11 world.But that’s just the tip of the iceberg.
This is looking into every major aspect of the above, such as chauvinism, the political interference and undue, and sometimes dangerous influence of celebrities, summed up here with the Film Actor’s Guild (or F.A.G.) with a host of major film stars ripped off, notably upsetting Sean Penn.
The infamous puppet sex scene, which is nothing more than a poke, pardon the pun, at the puppetry employed in the film.But there’s so much more such as the excellent selection of bespoke songs, such as “Only A Woman” for the sex scene, “End Of An Act” as our hero leaves the group to wallow in self-pity to the song with features verse after verse nothing more than slagging off Michael Bay’s, Pearl Harbor and Ben Afleck! But for a film with criticises these blockbusters, it understands them too well to be truly nasty about them.
The entire film IS a well made Bruckheimer film, even recruiting one of his regular composers, Harry Gregson-Williams, to be in at the last-minute, to compose a great score, but why do this if they hated it so much? They don’t; they love these films and the affection for the genre is clear, making their digs enjoyable and not hurtful… There’s even a contradiction with the political tract as one hand this would seem to be an anti-American tome where Team America blow up every city and landmark imaginable in order to protect the world from the destruction of the Terrorists… Get it?
On the other, the song entitled “Freedom Isn’t Free” would seem to suggest that we should all do our part, even though this number ends with the line, “Freedom cost a buck o’five…” But then after all the political and social satire, and the spoofing of Hollywood’s gung-ho films, it’s just a fun film.When the terrorist’s come from Derka Derkastan, the tone is clear. This is like a pair of boys playing “War On Terror” with a collection of action figures.
They’re clearly laughing hysterically as they write, produce and direct this film like two teenagers, as they create the highly insensitive language of the terrorists, use elements from films such as Star Wars and James Bond, certainly as for Kim Jong-il, is nobody safe, well not after offending the North Korean leader, but in all fairness, this is really just Eric Cartman from South Park.But in the end, this is the perfect satire, with a blend of real world political and social commentary, great spoofing but when all’s said and done, this has a great sense if humour, though at times, somewhat bawdy. This is brilliant and one of, if not the best comedy of the past decade, and one of the greatest satires of all time. And, no, I don’t believe that I’m over stating that…
This is looking into every major aspect of the above, such as chauvinism, the political interference and undue, and sometimes dangerous influence of celebrities, summed up here with the Film Actor’s Guild (or F.A.G.) with a host of major film stars ripped off, notably upsetting Sean Penn.
The infamous puppet sex scene, which is nothing more than a poke, pardon the pun, at the puppetry employed in the film.But there’s so much more such as the excellent selection of bespoke songs, such as “Only A Woman” for the sex scene, “End Of An Act” as our hero leaves the group to wallow in self-pity to the song with features verse after verse nothing more than slagging off Michael Bay’s, Pearl Harbor and Ben Afleck! But for a film with criticises these blockbusters, it understands them too well to be truly nasty about them.
The entire film IS a well made Bruckheimer film, even recruiting one of his regular composers, Harry Gregson-Williams, to be in at the last-minute, to compose a great score, but why do this if they hated it so much? They don’t; they love these films and the affection for the genre is clear, making their digs enjoyable and not hurtful… There’s even a contradiction with the political tract as one hand this would seem to be an anti-American tome where Team America blow up every city and landmark imaginable in order to protect the world from the destruction of the Terrorists… Get it?
On the other, the song entitled “Freedom Isn’t Free” would seem to suggest that we should all do our part, even though this number ends with the line, “Freedom cost a buck o’five…” But then after all the political and social satire, and the spoofing of Hollywood’s gung-ho films, it’s just a fun film.When the terrorist’s come from Derka Derkastan, the tone is clear. This is like a pair of boys playing “War On Terror” with a collection of action figures.
They’re clearly laughing hysterically as they write, produce and direct this film like two teenagers, as they create the highly insensitive language of the terrorists, use elements from films such as Star Wars and James Bond, certainly as for Kim Jong-il, is nobody safe, well not after offending the North Korean leader, but in all fairness, this is really just Eric Cartman from South Park.But in the end, this is the perfect satire, with a blend of real world political and social commentary, great spoofing but when all’s said and done, this has a great sense if humour, though at times, somewhat bawdy. This is brilliant and one of, if not the best comedy of the past decade, and one of the greatest satires of all time. And, no, I don’t believe that I’m over stating that…
Emma @ The Movies (1786 KP) rated The Amazing Spider-Man in Apps
Sep 25, 2019
The Amazing Spider-man, starring Andrew Garfield, came out 10 years after Maguire's ill-fated first attempt, on 3rd July 2012. Co-starring some greats, including Emma Stone, Rhys Ifans, Martin Sheen and Sally Fields. You might as well read the last summary for this one too, but add in the fact that he's out to solve his parents' mysterious death.
Peter is less nerd, more loser this time around. And generally he comes across as a bit more sad than before. But you'd expect that as we started the movie with a sad farewell. He has a bit of a "moment" with his dad's old briefcase to push that fact home a bit more.
No field trip for this Peter, instead he gatecrashes an intern enrolment to get a nosy at what might have to do with his parent's past. We learn lessons from this film too... in this one it is super easy to break into what must be highly classified labs.
Peter's transformation happens a lot quicker in this one, much to the trauma of everyone in the subway carriage with him. His little morning rampage gives me visions of Wolverine destroying the sink in X-men Origins: Wolverine... and now I come to think of it, doesn't Cyclops have a meltdown with his powers in a bathroom? What can we learn about this? Superpowers make you hate bathroom fixtures.
Did anyone else notice the guy who runs Jurassic World? Is he trying to pick up tips on how to super charge those dinosaurs? And while we're talking about mystery appearances, I'm torn about Spidey helping The Reaper rescue his son.
Honestly, my favourite line has to be... "Yeah, nobody likes your meatloaf." Sheen and Fields reacting to each other is just priceless.
Uncle Ben dying in this one is a lot more dramatic and sets Peter off on a bit of a crusade that leads to some better green screened wall walking. And some handy falling through a roof into a wrestling arena, gives him an idea for his costume, and we see a montage of him honing his skills and tech... we're a little bit past shooting some white gunk out of our wrists at this point. I like that he points out everything is spandex, yes Parker, there should be other options.
After the big costume reveal I feel like the film drags a bit. It's good, and I enjoy it, but I feel like there's a lot of film for not a lot of plot... does that make sense? Possibly not, but I know what I mean, so it's all good.
Just goes to show you how much I was paying attention in the last one. I missed Stan Lee's cameo. This one was much better, listening to music in his library while it gets destroyed in a fight behind him. Stan Lee, I love you. Genuine hearts all around.
The crane moving scene is, well, a little bit moving. One good deed deserves another, and let's fly a flag in the background for added effect.
We started sad, we end sad. I definitely prefer this film to Spider-man. It isn't without its own flaws though. While Spider-man was just over two hours, it didn't feel like that's how long you were watching for. The Amazing Spider-man felt like 2 hours 16 minutes of screen time. But the ending... she's angry at him, and then he whispers to her, and she gives that little smile, and as she dips her head he knows she's going to forgive him. And we're left with a spark of joy.
Peter is less nerd, more loser this time around. And generally he comes across as a bit more sad than before. But you'd expect that as we started the movie with a sad farewell. He has a bit of a "moment" with his dad's old briefcase to push that fact home a bit more.
No field trip for this Peter, instead he gatecrashes an intern enrolment to get a nosy at what might have to do with his parent's past. We learn lessons from this film too... in this one it is super easy to break into what must be highly classified labs.
Peter's transformation happens a lot quicker in this one, much to the trauma of everyone in the subway carriage with him. His little morning rampage gives me visions of Wolverine destroying the sink in X-men Origins: Wolverine... and now I come to think of it, doesn't Cyclops have a meltdown with his powers in a bathroom? What can we learn about this? Superpowers make you hate bathroom fixtures.
Did anyone else notice the guy who runs Jurassic World? Is he trying to pick up tips on how to super charge those dinosaurs? And while we're talking about mystery appearances, I'm torn about Spidey helping The Reaper rescue his son.
Honestly, my favourite line has to be... "Yeah, nobody likes your meatloaf." Sheen and Fields reacting to each other is just priceless.
Uncle Ben dying in this one is a lot more dramatic and sets Peter off on a bit of a crusade that leads to some better green screened wall walking. And some handy falling through a roof into a wrestling arena, gives him an idea for his costume, and we see a montage of him honing his skills and tech... we're a little bit past shooting some white gunk out of our wrists at this point. I like that he points out everything is spandex, yes Parker, there should be other options.
After the big costume reveal I feel like the film drags a bit. It's good, and I enjoy it, but I feel like there's a lot of film for not a lot of plot... does that make sense? Possibly not, but I know what I mean, so it's all good.
Just goes to show you how much I was paying attention in the last one. I missed Stan Lee's cameo. This one was much better, listening to music in his library while it gets destroyed in a fight behind him. Stan Lee, I love you. Genuine hearts all around.
The crane moving scene is, well, a little bit moving. One good deed deserves another, and let's fly a flag in the background for added effect.
We started sad, we end sad. I definitely prefer this film to Spider-man. It isn't without its own flaws though. While Spider-man was just over two hours, it didn't feel like that's how long you were watching for. The Amazing Spider-man felt like 2 hours 16 minutes of screen time. But the ending... she's angry at him, and then he whispers to her, and she gives that little smile, and as she dips her head he knows she's going to forgive him. And we're left with a spark of joy.
Gareth von Kallenbach (971 KP) rated The Amazing Spider-Man (2012) in Movies
Aug 7, 2019
Initially when a franchise reboots a series not five years from its last installment this can often be seen as a sign that they’ve run out of ideas. It was reportedly the inability to find a suitable script that drove director-producer Sam Raimi and the stars of the Spider-man series away from a possible fourth outing and forced Sony/Columbia start fresh.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
Bob Mann (459 KP) rated The Front Runner (2018) in Movies
Sep 28, 2021
Candidate for a downfall.
We can all probably rattle off some of the classics movies with US politics as their backdrop. For me, “All the President’s Men”; “Primary Colors”; and “Frost/Nixon” might make that list. In the next tier down there are many great drama/thrillers – “Miss Sloane“; “The Post“; “The Ides of March”; “The American President”; “JFK” – and even some pretty funny comedies – “Dave” and “My Fellow Americans” for example. It’s actually quite difficult to think of many films on the subject that are outright dire, proving it remains a fertile ground for film-makers.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.