There’s a brand spanking new cut of the infamous third and final incarnation of Spider-Man with Tobey Maguire in the suit and Sam Raimi behind the camera entirely authored by Raimi’s regular editor Bob Murawski that’s been making rounds in a new Blu-Ray collection release and I’m kind of upset that I haven’t found time to buy and watch it before writing this review (maybe I might add an addendum to this once I find free time for it). By all accounts, it is a significantly better and tighter version of a film that clearly had a lot of behind the scenes drama that strangled and tattered the final result to the point of the strong hate the film receives ten years later.
I can’t say I don’t see where the hate for Spider-Man 3 comes from. It’s a broken movie, full of flaws and imperfections and absolutely demolishing the portrayal of one of the most canonical and beloved villains in the entire Marvel catalogue. But I’d also be lying if I said that I end up disliking the film, let alone despising it the way the rest of moviegoers seem to. Anyway, let me divert those angry “you’re stupid for liking this movie” comments just for a second to target on the problems I’m sure anybody would acknowledge about it.
The first and most glaring one is Tobey Maguire was miscast for this movie. I’m sorry, he’s still my favorite screen Peter Parker/Spider-Man (now that I’ve seen Homecoming) and you can’t help the fact that he’s been cast two movies ago (and supplied great performances in them), but this is not his material. I mentioned before that he’s an extremely limited actor and one of those limitations is his inability to sell any kind of darkness in a manner that isn’t comical and overwrought even for Raimi’s stylings. And Spider-Man 3 is unfortunately a film that feels like it desperately wants to be dark, incorporating the Symbiote and Venom storyline – where Spidey finds a new suit in the amorphous alien liquid that attaches to his body but affects his attitude so negatively as to turn him antagonistic to everyone around him, before he forces it off of him and the symbiote finds a new host in obnoxious and pathetic rival photographer Eddie Brock (the spectacularly miscast Topher Grace), transforming him into the dark version of Spider-Man known as Venom – demands that kind of darkness. But, Maguire is holding it back in the most severest manner, for reasons not his fault (his face is way too boyish for him to play off the kind of despicable cool Raimi and co-writers Ivan Raimi [who almost certainly added more of the campy elements] and Alvin Sargent want) and reasons entirely his fault (he cannot sell the violence of certain moments).
Now, that’s Maguire. The other big problem that hinders Spider-Man 3 is no secret: Sam Raimi did not want to make this movie. At least, he didn’t want to make the Venom movie and it gets in the way of his intended storyline where The Sandman Flint Marko (Thomas Haden Church) fights for his family and Harry Osborn (James Franco beginning his wack descent into actor I despise), now aware of both his late father and Parker’s secret identities, takes up the Green Goblin mantle to avenge the latter figure in his life. As a Spider-Man fan, I can’t say I disagree with this attitude – Venom does not interest me as a villain, totally the type of work as character and design that the dated Todd MacFarlane could come up with in a transparent manner.
As a result, the parts that Raimi truly feel inspired with – such as the beautiful effects work witnessing The Sandman slowly building himself up again after having been changed into his superself in an experiment gone wrong – have that epic pulp quality that Raimi supplied to every single second of Spider-Man 1 and every possible second of 2. But the parts where he’s clearly disinterested in… well, it shows. In some places, it turns terrible such as every moment Grace is on-screen (and I feel like the casting was one place where Raimi was flipping Sony of) and in others… when life gives you lemons, you make lemonade. Raimi took the most dismissable facets of Spider-Man’s dark development and turned them into one-part comedy, one-part musical cinema and I would be lying if I said I was not entertained by the infamous dance scenes showcasing how the symbiote has developed Parker into an insufferable prick. He’s never as outright dislikable as Andrew Garfield’s Spidey until the very moment the characters realize something is wrong with him, but he never becomes unwatchable either.
At least, not to me, though I am aware this is a point of hatred for many viewers of Spider-Man 3. Maybe if I didn’t love Raimi’s sense of humor or jazz or musical numbers, this act of clear defiance would make me just as well demand Spider-Man 3‘s execution by firing squad, but I instead admire the idea of keeping the bold color and lighting of Spidey, applying it in a new context, and taking ownership of a movie despite how much the studios wanted to shove in. Some people don’t like lemonade, I guess. I love it.
Still, there are many areas of neglect. The acting is so much more anonymous here whether Kirsten Dunst as Spidey’s girlfriend Mary Jane Watson or Bryce Dallas Howard as Gwen Stacy in another love triangle plotline within this overstuffed film, but where a superhero movie counts, Spider-Man 3 holds its own more than we give it credit for. Its spectacle – with an echoing subway battle, an narrow sky chase, and a very coherent three-pronged climax – doesn’t slouch, its themes are clear and delivered (responsibility, moving on, and restraint), and most of all… it feels like a proper close to a story.
Obviously, that ended up the case when Raimi unsurprisingly walked from Spider-Man 4 and Maguire right after him, but there’s a sense of finality in all of the chickens coming home to roost, the consequences of actions all over the trilogy making Spider-Man decide on how he was going to develop for the rest of his and Mary Jane’s lives together. And Raimi sells that more than anything, looking back on how Parker, Mary Jane, and Harry’s relationship have been shifted over three different movies, tying the Sandman to Spider’s origin (albeit in a very unforgivable manner that is my biggest problem with the movie), and the final scene’s decision to sit within Peter and MJ silently deciding to face any other problems together (easily the best acting both actors get to do in the whole movie).
Spider-Man 3 is a troubled film, no less so than Suicide Squad or Fantastic Four, but that didn’t turn into on-screen misery for me. It’s still in love with its characters and wants to carry all of them to the finish line, even Venom gets more dignity than he deserves (as much as you can with Grace). It’s a step down from two all-timer superhero classics but the result is interesting and the tying knot of the last few scenes shot in solemn sunrises and spotlight blacks makes me feel it works as a curtain call to some of my favorite comic book character incarnations on the screen. Raimi’s heart is battered and bruised but still beating. I can’t help being more forgiving to that sort of thing.