Note: Anybody who can tell me what famous Spidey moment the title of this review comes from wins my eternal respeck.
Other Note: This is re-do of a previous review from when I first saw this movie in 2012 because maaaaaaaaan, it’s not only too long, but a godless mess of a ramble.
Spider-Man, like any comic book icon, is a versatile malleable figure. He means different things to different people, they have a different idea of what his defining trait may be, and many artists and writers have put in different contexts and styles just to twist his imagery around as much as Batman. Now for some people, their idea of Spider-Man’s defining trait is that he is a unrelentingly quippy sort and that means that Andrew Garfield was (until Tom Holland thankfully disabused them) the best screen Spider-Man. And for sure, Garfield might have been able to foreground the sarcasm of high schooler Peter Parker behind the mask (though claiming Maguire’s Spidey wasn’t humorous and full of levity is an outright lie – he was directed by Sam Raimi, the creator of one of the quippiest heroes cinema has been blessed with), but he’s not my ideal Spider-Man because I have a different concept of the defining trait of Spider-Man.
That trait being he’s not a complete piece of shit*.
To be fair, Garfield did not go full throttle on making Spidey a despicable son of a bitch. That happened in The Amazing Spider-Man 2. But rest assured, when it comes to his first go in the red tights for Marc Webb’s (a director’s title I’m all but certain feels ceremonial) The Amazing Spider-Man, there is nothing to his performance that feels living beyond his sarcasm and his casual ability to look like him and co-star Emma Stone (as the doomed first love Gwen Stacy) have some kind of affection for each other. This is definitely informed by the fact they were, at the time, in a relationship and not any of the giggling dialogue afforded to them by co-writer Steve Kloves (he focused on that side of the script most while co-writers James Vanderbilt and a definitely begrudgingly returning Alvin Sargent worked out other areas). Beyond that, his Spider-Man is a empty mass of high school cool tropes that seem out of the ordinary for the character except in a desperate attempt to mangle some protagonist to a desperate film.
The Amazing Spider-Man is not as bad as I thought it was on first watch. It’s clear Webb and his studio puppeteers (this movie and its sequels have studio interference fingerprints all over it) was not flailing around, but it’s a soulless product. Time passing by, especially in the face of all the Sony leaks and the eventual entry of the character into the MCU, has only shown that this was Amy Pascal and company trying to hold tightly to the character by implying the promise of a further movie franchise, with the subplot on Peter’s parents (something that always alarmed me as so dismissive of Martin Sheen and Sally Field’s potential in the roles of Uncle Ben and Aunt May), the deliberately illogical overshadow on a hologram of Norman Osborn, the terribly out-of-place mid-credits scene, and so on. It’s like Iron Man 2 in those self-reflexive attempts of foreshadowing, except less confident and without the charisma of Robert Downey Jr. to guide us through it. And that’s what really gets under my goat about what “universe-building” has done to this decade of popcorn cinema: it leaves us with only half a story.
The Amazing Spider-Man feels like the bare minimum of what you need to create a plot (with half of the beats already done to more emotional effect in Raimi’s first film) where the content goes no deeper than “Peter becomes Spider-Man to avenge his Uncle’s death, battles the Giant Lizard that Dr. Curt Connors (Rhys Ifans) has become, and courts Gwen.” You’d only need one more sentence to throw in “Gwen’s police captain father George (Denis Leary) is a bigger dick than Spidey and wants to arrest him, because something something vigilante.” Nothing about it has the same explosion of personality Webb’s earlier debut (500) Days of Summer got to have and everything is just calculated to get this movie out in time to hold tightly to the Spider-Man property and make it seem like it’s still relevant.
Actually, there is some kind of tone in it but it’s obnoxiously self-serious. It almost feels as parodic as Spider-Man 3 except without the parody. Underlit scenes in alleys and sewers, attempts to make Parker’s isolation a lot gloomier than Raimi, even the costume went like three shades down in darkness. There’s nothing that gives me less confidence than realizing the aesthetic for The Amazing Spider-Man could go hand-in-hand with Trank’s Fantastic Four and not thank my stars Kevin Feige rescued a sinking ship. The only true moment of inspiration comes from when Parker begins his ascent as Spider-Man and we witness his playground treatment of New York in first-person camera. But that’s the only place for fun in The Amazing Spider-Man‘s world and it’s back to making superhero movies feel like an obligation in one of the most disappointing moments in the genre’s history.