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The Amazing Spider-Man begins with Peter Parker in high school. Though an amateur photographer, Peter’s main interest is science – and he bluffs his way into an audience with his deceased father’s ex-partner Dr Curt Connors. After impressing Connors with his knowledge of cross- species genetics, Peter enters a classified area and is bitten by a mutated spider. As his powers and secret identity develop, so too does his relationship with Connors protégé, and Parker’s classmate,cheap nfl jerseys discount, Gwen Stacey. But when the desperate Connors attempts to fight his personal weaknesses using the same untested method,cheap nfl jerseys wholesale, he undergoes a more disastrous transformation into “The Lizard”, a creature with a twisted view of how best to ‘cure’ humanity.
The Amazing Spider-Man’s origin story is undoubtedly an improvement on Raimi’s Spider-Man, a decade prior. The characterisation is a lot more realistic, which makes it easier for the audience to feel Parker’s teenage pain, awkwardness and ultimate escapism when he dons the guise of Spider-Man. Emma Stone’s Gwen Stacey is also a welcome replacement for Mary-Jane, who’s sole purpose in Raimi’s films was either to moan or scream. Stacey by contrast, is an intelligent character in her own right, who doesn’t shy away from getting her hands dirty when Spider- Man’s in trouble. Rhys Ifans portrayal of Curt Connors has the same Jekyllian vulnerability seen in Mark Ruffallo’s Bruce Banner earlier this year, although his motives are distorted somewhat as the film progresses.
However, such interesting character development unfortunately does not hold together perfectly with the action. Of course, Spider-Man is foremost a movie that has to entertain; yet the cocky web-slinging CGI hero seems too unlike Garfield’s brooding Peter Parker. The quality of the special effects is largely inconsistent, with POV scenes of Spider- Man diving around the city impressing greatly,cheap jerseys from china, whilst his actual battles with The Lizard are considerably less ambitious. The weighty retelling of Parker’s familiar back-story also means that during the dénouement several large plot points, which could have expanded the action, are left undeveloped – and so the ending is a little too simple and unsatisfactory.
Webb has successfully addressed the new demand for superhero movies to be deeper and more human; yet he is not a director adept at providing big-budget action to an audience in the same way as Joss Whedon or Christopher Nolan. The Amazing Spider-Man is therefore the sum of two films, a satisfactory coming-of-age movie and an unchallenging action film. Unfortunately, Webb is not strong enough to convincingly hold the two together. After Spider-Man 3 became something of a critical and commercial letdown and plans for a sequel fell through, the folks at Marvel Entertainment and Columbia Pictures developed a case of itchy reboot button syndrome and immediately put The Amazing Spider-Man into production to swing in and save the franchise. Many fans rolled their collective eyes and the web was abuzz with fiery opinions. Early looks and promotional materials seemed generally underwhelming, and the film quickly became buried by bigger releases such as The Avengers, The Dark Knight Rises and Prometheus. However, this spider has become something of a dark horse and has somehow risen to greet detractors with a shot of webbing to the face.
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The film brings up the issue of Peter’s parents but never fully addresses it, with a slightly ham-fisted mid-credits sequel hook hinting at what is to come. The Amazing Spider-Man has been marketed as “the untold story”, which is rather bold given that it’s only been ten years since Sam Raimi’s Spider-Man and five years since Spider-Man 3. Still, it defies expectations and is thoroughly entertaining. Untold story? Not quite, but well-told story? Definitely.