Now THAT’s What I Call a Fiasco

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.


*There are many defenders of Garfield that sit on the thesis “Spider-Man is supposed to be a dick, Maguire was too nerdy”. Same as the Tobey Maguire crying meme, I flat out ignore such an asinine complaint and suspect they never picked up a comic in their life, let alone a Spider-Man one.

FIXING A HOLE 2014 – Web in the Head


We are in 20-fucking-14. We are in the middle of hyper-saturation of comic book films thanks to the reception and recognition of their worth as lucrative properties (Hell, one comic adaptation won the Palme d’Or something I would have never called prior), where every damn studio will be playing around with trying to stretch out their comic book properties as much as they possibly can and adopting the idea of “universe” establishing and world-building. As such, we’ve seen and are going to be seeing some great ones and we’ve seen and are going to be seeing some trashy ones. But the one thing we can’t really avoid recognizing is this:

They are all, no matter how good they are, going to be experiments and exercises within the studio system. That’s just their nature as pictures from the foreign properties (Snowpiercer‘s battle for distribution uncut being on) to the brand names (Batman vs. Superman will be fan service the movie). Some of these movies are really able to avoid bringing it out to the audience that much, like the X-Men films have done. Some are just able to transcend that aspect to become worthwhile standalone movies, despite not neglecting or denying their position in a universe.

And then there is The Amazing Spider-Man series which is just Sony flopping around on themselves like Chaplin’s Tramp trying really damn hard to cobble together a movie with as much synergy as they can muster before the next flick. And this is all because Sony doesn’t want to give Marvel the rights to the Spider-Man film productions, trying instead to pretend they can actually fucking do something worthwhile themselves – Marc Webb’s direction seems like it is a non-entity, devoid of character or personality the way Sam Raimi’s Spider-Man films were honest-to-fucking-God comic book flicks.

Not one thing in The Amazing Spider-Man 2 feels anything but facilitated as an adventure in branding – from the various Sony product placements to the name-dropping rock star arrangement barely listenable in what amounts to Hans Zimmer’s worst score in his career so far sounding like an attempt at force-feeding melodrama while the movie does nothing to earn its melodrama.

I weep for Fox doing the same with the Fantastic Four.

Let’s swing through it.

2 years after the events of The Amazing Spider-Man, fresh high school graduate Peter Parker (Andrew Garfield) is fully in the flow of being Spider-Man, but is still somewhat haunted by spooky Denis Leary (I call the character Denis Leary because whatever the hell he was playing in the last movie, it wasn’t George Stacy) enough to avoid a true relationship with his daughter, Gwen (Emma Stone). I gladly ignore the fact that this actually nullifies his choice at the end of The Amazing Spider-Man to disregard Capt. Leary’s dying request because it means that we actually have a relationship arc with the two central characters for the talented Garfield and Stone to live in, rather than do the heavy lifting they had to do with just giggles in the last movie. And at this point, I’d warrant the emotional stakes of the relationship lead for a much more engaging romantic conflict than anything in the Raimi trilogy.

Something else that the Amazing Spider-Man 2 is able to finally surpass the Raimi trilogy in is giving Spidey a true role of a sort of “community rock star”. Embracing being known as a part of New York City, engaging as Spider-Man with people he helps and establishing, a rapport akin to how a firefighter or police officer would when helping someone. He truly is a “friendly neighborhood Spider-Man” in this. It is one of the few compliments I will give this movie (you can count the amount in one hand and I wouldn’t be afraid to cut off fingers).

But that’s just within the suit. Outside the suit, Garfield’s Peter Parker is just as much a fucking dickhead as he was well in The Amazing Spider-Man, most notable in his relationship arc with Gwen now just being Parker refusing to quit being Spider-Man for some reason – since Uncle Ben actually seems totally forgotten at this point, it’s safe to say Parker feels no moral obligation to being Spider-Man and nowhere in the movie does he try to prove me wrong. And Aunt May (Sally Field) is just tossed off for every scene she is in, just as I had a problem with in The Amazing Spider-Man, this time less because the movie doesn’t allow her to be on-screen as a voice of reason/inspiration for Peter and more because Peter uses her as a meat puppet for comic relief until some surprisingly self-aware moment where May doesn’t take it anymore and bitches Peter the fuck out.

Let’s get something straight one more time, because every time I mention this in conversation, people try to rebuke with the opposite point and prove they don’t know the first thing about Spider-Man: Peter Parker is NOT a fucking asshole. I don’t know where the defenders of The Amazing Spider-Man keep drawing this idea (I like to think it comes from mainstream audience’s sudden love for cynical, sarcastic, but well-meaning characters that like to mess with everyone in a borderline cruel manner but still save the day and to the misconception that sarcasm is only exclusive to cynicism when… well, I used those two adjectives together for the reason that they are separate), but the definition of who Spider-Man is is that he is strictly NOT an asshole. That he always holds to himself to do the right thing, no matter how the choice is. That is the cross he has always carried since his conception and this reliability as a humanistic character was what made him popular to begin with. He wears his heart on his sleeve. He cracks jokes, of course, his humor is also what makes him admirable. But, he’s not a cocky little shit who never grew beyond the age of 18.

Anyway, infidelity to a character is not what makes a movie terrible, even if said character is the center of the movie. Regardless, that is a pet peeve of defenders of the franchise based on one of my favorite superheroes that I must condemn, because they make me have to.

Anyway, let’s move on with what the hell happens in this movie:

Apparently Parker was also friends with Harry Osborn (a thanklessly ill-used Dane DeHaan) – despite never bringing it up in the many many times he was at or involved in OsCorp within these two movies prior to Harry’s appearance. Y’know, that’s kind of something that would warrant a mention to your girlfriend who works at the corporation or the worker who wonders why the fuck you are in a classified area… or y’know calling Harry because you found out that your dad was heavily involved with his company. But no, Harry is there because Sony decided it was needed.

Harry has a contrived disease that is inconsistent with its appearance and how it affects him (and the movie even tries so hard to deflect this seemingly imperative plot point with the line “It comes and goes”) and apparently really needs the blood of Spider-Man to fix up the cure for this. In the meantime, an awkward OsCorp worker Max Dillon (Jamie Foxx) is constantly shafted by his workplace and this abuse ends with him having a very comic book-like accident that leads him to becoming the electric villain Electro. His motivations are, like his design, writing, and acting, hard to put a bead on, but given the objective of figuring it out: He thinks the world hates him and wants to rip it apart. Just like Harry.

So yeah… that’s what happens in the movie. Shall we call it a plot or something? These are the days of Spider-Man’s life, I guess? It’s not just lazy, it is cobbled and pasted right along together. It’s not formulaic in the sense that The Amazing Spider-Man obviously was, it is a mess that trips over itself in forced plot points that make little sense except that the writers want very much to finish their job and get their paycheck – Roberto Orci & Alex Kurtzman are easily recognizable for this sort of work, James Vanderbilt is clearly the guy who had to remind the writing team that it’s a Spider-Man movie and they needed Spider-Man stuff, and I don’t know enough about Jeff Pinkner to hypothesize about his involvement.

But that’s a full fucking 2 hours and 26 minutes that the movie wastes trying to pretend it has anything to say and not only does the script fail as a plot or a Spider-Man adaptation, it gives no room for the actors to save the movie themselves. Really, this is the line-up we got

  • Garfield
  • Stone
  • DeHaan
  • Foxx
  • Field
  • Chris Cooper
  • Paul Giamatti
  • Colm Feore
  • Marton Csokas
  • B.J. Novak

These aren’t bad actors. None of them. There’s some I’m unimpressed by (ahem Foxx), but I’d hardly expect them to give a terrible performance unless they were forced to. And that’s how this film has forced every single one of these guys to go.

Now, I promised there was maybe a few compliments, as weak as they are to save the movie, and I will do so to deliver. The film itself looks fine. It’s not a miracle of cinematography genius, really. And it still doesn’t have the flavors of comic book popping action that the Raimi films gave his films, but it’s colorful to a distinctive degree and you just can’t help but feel the splashes of purple and blue a little bit more than the movie probably would have if it had just not cared about being a good movie a little bit more. None of the movies – Raimi or Webb – have ever gone cheap on the web-slinging interims that Spidey is best known for doing in his little nest of New York, giving the city a bit more definition within the realm of the film and having the experience whoosh right by us like the wind to our hair, so I will not begrudge giving this movie that freebie point. The action scenes are not exactly as terribly made either, as a result of the movie’s attempt give off passable picture and sound enough to satiate anybody not paying attention to the movie itself (God help those who do). They do what they’re meant to, be fight scenes and such.

And of course, when you-know-what moment happens that most comic book fans or anybody interested in Spider-Man with access to wikipedia (summarizing most of the people who seem to like this movie) was expecting by the end of the film, it’s not laughable like the rest of the film. It’s not exactly poignant or sad, in fact it seems just as brushed through as Uncle Ben’s death, acted like a required inconvenience rather than as an emotive moment within the otherwise mechanically cold flick, but it’s not a shit moment. It probably works for a few people and I’m glad it does. I’m just happy it doesn’t fail outright.

But that’s again, the longest fucking movie of the whole Spider-Man brand yet and it turns into the most boring, the most banal, the most stupid, and the most lazy film in the franchise yet and all because its only purpose was being a product and it probably felt less obligated to fix itself up than The Amazing Spider-Man did.

And it seems Sony will just make things worse (That last link is unrelated to Spider-Man but certainly makes Sony look bad).

FLASHBACK: Two Movies I Really Tried to Like That I Couldn’t.

Author’s Note, July 2017: Remind me in a bit once I’m done writing about Raimi’s trilogy and the new Spider-Man Homecoming to actually write a REAL review for The Amazing Spider-Man, because while my feelings haven’t changed much on the movie… man, reading 20-year-old me’s writing is fucking awful. I sound like an idiot. And 2400 words?! What the fuck am I, Charles Dickens here?

In 2012, I didn’t really have many movies I was looking forward to. I had taken to watching more classics and oldies than looking out for any coming attractions. I was surprised to realize that Ben Affleck and Paul Thomas Anderson came out with new movies, though I jumped on them immediately. I was not excited about The Avengers as such a concept of a film sounded unwieldy (though I was pleasantly surprised upon seeing the movie) and The Dark Knight Rises as I knew the movie would not be worth the hype that occurs. In fact, the upcoming Spider-Man reboot was the only movie I had expectations for. I thought it was way too soon to do a movie on the Osama bin Laden search, despite being under the direction of Kathryn Bigelow. And although I had been following Rian Johnson and Joseph Gordon-Levitt’s next collaboration after BrickLooper was not a movie that I was going to rush to see if I had no time.

The only three movies I was legitimately anticipating were two movies whose pre-production and production I had been following out of rabid fandom: Prometheus (out of my rabid fandom for Alien), Django Unchained (out of my Tarantino fandom) and a movie I had been surprised to find was being made… John Dies at the End.

My expectations to John Dies at the End were foolish. I won’t say it was a bad movie, but Don Coscarelli, a director whose made movies I have undying love for like PhantasmBubba Ho-Tep and Incident On and Off a Mountain Road, is a guy who can only make movies that are good enough. Not great, not fantastic, but good enough to pass off the story and maybe have a bit of style and humor to it. It’s a result that probably has to do with unwieldy yet ambitious production and budget problems. Coscarelli is probably at best a more independent Terry Gilliam without the reputation.

It may work for the other films, but when reading the original book by David Wong, John Dies at the End is a tale that requires larger than life, fantastic elements. It’s a tale about two guys basically finding a gateway to a darker world through a drug. You cannot just half-ass that. The Coscarelli humor is somewhat adequate, but it’s not the humor of the book – the absurdity, the banality, the true invincibility of the titular character’s jackassery. At the same time, it has to be legitimately frightening. It’s part of the atmosphere. It can’t be hallucinatory, because the things David and John encounter are real. The threat is real, not in the mind.

And the bigger thing is just that the story is more serial-esque but with an arc. If anything, it fits more as a TV series, but how do you really pitch such a series?
Very small changes are forgivable, a dog who is the central character of the story has been changed in sex and renamed to a punny ‘Bark Lee’. A significant battle in the Luxor casino at Las Vegas has been removed – disappointing but understandable because of budget.

Other changes are pretty hurtful… They take out a huge twist in the story that defines the book, they made the lead female character Amy more of a love interest than anything else and there ARE NO CHAIR JOKES!!!! None!!!

These are not story changes that Coscarelli should take all the blame for himself, but David Wong as well, who has taken responsibility and explained why he insisted on the changes from book to movie. I’m only having a problem with it due to my attachment to the book to be honest.

As a strength to the movie, even though they had less time to flesh out the lead characters of David and John, the actors who played them really understood who they were. I didn’t feel like I was watching an attempt at recreating David and John, I felt like I was actually watching David and John.

My advice to those interested: Watch the movie and then read the book if you liked the movie. You won’t be as disappointed with the movie as I was if you read the book after the fact and it will really fill in the details for a lot of other things that had to be shortened for movie’s length.

Now get ready, because a rant is about to ensue…


The Amazing Spider-Man on the other hand, I was initially disappointed. I was intrigued by the idea of a new Spider-Man film and was intent on seeing it. When I first saw it, I thought it was whatever, but not a terrible movie. But the reviews came in, lower than the first two Spider-Man films, but higher than the terrible Spider-Man 3. And all my friends were seeming to like it. And then, they started saying the movie was better than Raimi’s trilogy – they started claiming Raimi’s trilogy always sucked. Nevermind the sudden internet about-face, I thought there was nothing spectacularly good or bad about the Amazing Spider-Man. But I figured, I’d give it another shot… I’d see if I could catch what I was supposed to be missing and they were catching.

The Amazing Spider-Man is not just an overhyped movie, it’s a very bad movie. There’s in actuality, after watching it again and again, nothing whatsoever of cinematic merit in it. My attempt to watch it again to find the good in it backfired. I only found more bad.

I’ve had times when I went against the public opinion to not like a popular movie… I was not a fan of CrashTransformers (albeit the 2nd and 3rd movies were bad and everyone knew it) or a good portion of Tim Burton’s work (though I have lightened up on him)… But I understood there was at least some merit in these films that allowed for their legacy, even The Dark Knight RisesThe Amazing Spider-Man does not have that. At all. It does not have anything of quality in it. There has never been another time I was so certain people were eating up shit since The Walking Dead TV series started and everybody claimed it was the best show ever made.

So, let me start with the obvious…
1) The most underdeveloped romantic story I’ve seen in films. I haven’t seen From Justin to Kelly or Gigli yet, and I have no intention to, so I’ll be fair and not say it’s THE most underdeveloped romance in all films but giggling and staring at each other does not constitute chemistry.
2) Peter Parker is a brooder all around the movie. Before Uncle Ben even dies, he’s brooding like a punk. People all around me say that this is the Spider-Man they’ve been waiting for, but that’s not Spider-Man. They say Spider-Man has to be an asshole, Spider-Man has to make jokes…

Look, Spider-Man is not Spider-Man because he makes jokes. If you get mad, Raimi’s Spider-Man didn’t make jokes, you may as well be mad at Christopher Nolan’s Batman because he didn’t do that Dracula thing he always does with his cape…


Pictured: That Dracula Thing… I can English!

You know what makes Spider-Man Spider-Man? The fact that he’s not an asshole. The fact that he legitimately means well everytime. He’s human with faults, but Uncle Ben taught him to be a better person and his death spurs him into taking on hefty responsibility in life. He doesn’t love his life, but he doesn’t brood 24/7. A gritty Spider-Man would not work, just as a gritty Fantastic Four does not work. Peter Parker’s a legitimately good guy who wants to do the right thing.
Anybody who claim Spider-Man is an asshole or his only defining feature in persona is his smartassery (which is done to offset the weight he feels put under)… These people don’t know what they’re talking about at all.

Andrew Garfield and Emma Stone, in my opinion, are better actors that Tobey Maguire and Kirsten Dunst… But man, Andrew Garfield’s acting in this film, he made me want to punch Peter. Every damn time… they barely glance over his scientific knowledge and they make him look like a modern Edward Cullen.

3. The story was rushed. The origin was rushed, Flash Thompson was inconsistent in his treatment of Peter, the chase for Ben’s killer went nowhere, the romance was rushed… and when they killed Captain Stacy, I just went ‘Wow, that already happened?’… Then, I look at who wrote the script and I figure out why… James Vanderbilt: his portfolio does not seem to understand development or pacing. Zodiac is the one credit that actually seemed satisfactory. Alvin Sargent wrote all Spider-Man scripts… that’s fine whatever, but he made mistakes too. And Steve Kloves wrote the Harry Potter films… which I despise with a passion for their lack of understanding how to properly adapt works of literature into cinema (Granted, I really really love the books, like anybody who grew up reading them, and I have a warm reception towards the movie of Harry Potter and the Prisoner of Azkaban – So, I’m not anti-Harry Potter at all).

The Amazing Spider-Man could’ve went into places Raimi never went to, it could’ve brought new life to the comic book film, but instead it played out as a lifeless script treatment of a high school drama.

The biggest gripe I have is with what The Amazing Spider-Man claimed they were bringing to the table turned out to be absolutely empty promises. Norman Osborn’s disappearance was laughably obvious by the sudden showcase of the shadowy bust they had in the OsCorp tour.

Are you fucking kidding me? Is that a whole obnoxious ‘I’m gonna deliberately not show you the face because I want to be incredibly mysterious as a picture’ instead of being unassuming about the whole deal and letting the ambiguity flow naturally?

Curt Conners’ transformation into the Lizard was actually a well-treated part of the story, particularly with his being ridden on by Irfan Khan’s character, but then his whole plan to flood the city with that mutation cloud was once again, worse than the more cliche comic book villain schemes I’ve seen since I was a child… At least the Green Goblin, despite a bad design, had a personal vendetta with everyone he targeted.
The worst part, the biggest crime, was the sudden focus on the parents. There’s three reasons why it was absolutely appalling to use.

1) They don’t say anything about his parents. They act like they’re a big part of the story, but by the end of the movie, nothing is known about them except Richard worked for OsCorp with Connors. Nothing jaw-dropping out of that. Then they make the mid-credit scene in prison to laugh at us, teasing like they have more to say… when there was nothing said to begin with. By the end of the movie, I polled all of my friends who loved The Amazing Spider-Man (ie. Everyone who saw it for some reason – including my brother who I saw it with) to name the parents of Peter Parker. Half of them were able to name Richard as the father, nobody except one guy could name Mary as the mother.

2) It doesn’t matter. It just doesn’t. Richard and Mary Parker left Peter’s life and they never returned and it never affected Peter in the comics (it had weight in the Ultimate Spider-Man universe, but never so severe). For all intents and purposes, Ben and May Parker are Peter’s parental figures. They were the ones who shaped Peter into the man he became, not his parents… which leads me to the third reason.

American Gothic… it is not.

3) They downplayed Ben and May’s role at this point. Their importance to Peter’s life was absolutely nullified. Instead of feeling the pull I felt when I saw Ben die in 2002’s Spider-Man, I instead thought ‘Huh, they shot him already?’ in 2012’s The Amazing Spider-Man.

It was an bloodless picture that thought just from its existence it was going to change the Spider-Man game the way Batman Begins did to the Batman game and instead, it came off as movie that was all the bad parts of the Ultimate universe and the Harry Potter stories. It was created only to make money and retain the Spider-Man copyright for Sony Pictures and everybody fell for it and ate it up. It’s very insulting to the intelligence of the audience because it’s obvious they half-assed this movie.

At this point, it goes far beyond I just don’t like The Amazing Spider-Man. It goes far beyond Raimi’s Spider-Man 1 and 2 being my favorite movies. I’m trying to avoid comparison.
I’m making a certainly childish move to a degree, but one I feel completely justified in… The Amazing Spider-Man was a bad movie. A very bad movie. It has it’s hype phenomenon going for it, solely because it’s the new version… Everybody’s going to eat it up because they like teenage angst and think it equals cinematic emotion. I’m that guy trying to explain that Soylent Green is people and whatever… I’ll be the pariah, but everybody’s wrong if they say there’s something of quality in The Amazing Spider-Man.
I will forever fight this until it dies down.
It’s not like you can say The Amazing Spider-Man was more accurate to the comics – that’s not the case. In fact, it goes a lot backwards in comic book accuracy than forwards or makes the same leaps that Spider-Man made. The only accuracy added was the web-slinging device. That’s one item of accurate delivery and even then, Parker steals it in TAS as opposed to building it.
You certainly can’t say it’s because it’s the Untold Story. It wasn’t. It wasn’t everything told in Spider-Man as an origin.

At least John Dies at the End was funny.

Wait, no, The Amazing Spider-Man was better because 3D!

EDIT: So, I just read that the sequel to The Amazing Spider-Man will feature Jamie Foxx as Electro and possibly Paul Giamatti as Rhino. DEAR ODIN, this series fucking reeks of stunt casting – Martin Sheen, Sally Field, Denis Leary, C. Thomas Howell, Irfan Khan, Rhys Ifans and now this… this is only done to use big-name stars without respect for character.

Okay, I’m done now, I promise.