WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. (The dates in which said reviews were initially posted are in parentheses.)
With Spider-Man: No Way Home opening exclusively in movie theaters next week, let's look back at the many cinematic variations of our favorite Marvel wall-crawler from the last two decades. Only solo films will be mentioned (live-action and animated), so no appearances in the Marvel Cinematic Universe or otherwise will be included.
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Spider-Man (2002)
By the turn of the century, the superhero genre was a scarce one at best and a divisive one at worst. For every initially-successful franchise like Superman and Batman, there were many others that were middling or poor (The Quest for Peace or Batman & Robin, anybody?). Then Marvel's X-Men made their big-screen debut in 2000 (courtesy Bryan Singer), followed soon after by horror veteran Sam Raimi's live-action take on Stan Lee & Steve Ditko's ever-popular webslinger and his mild-mannered alter-ego.
Sure, the special effects and visual aesthetic are cheesy, dizzying, and flawed by today's standards. Even Willem Dafoe's iconic Green Goblin resembles a ridiculous Power Rangers foe; the actor's complex take on tragic scientist Norman Osborn fairs much better. But the engrossing coming-of-age story involving Peter Parker (a likeable Tobey Maguire), his secret love for girl-next-door Mary Jane Watson (Kirsten Dunst), and his growth and responsibility with his newfound superpowers, is what really carries the film. That, and an exciting sense of high-flying vertigo (seriously, that closing shot!).
TRIVIAL FACT #1: Before the tragic events of 9/11, early marketing (including a teaser trailer in the summer of 2001) featured the Twin Towers reflected in Spidey's eyes. Part of the film's subsequent success (along with the character's selfless acts of heroism) couldn't have been more timely and inspiring with critics and audiences.
TRIVIAL FACT #2: If you want to listen to a great parody, check out Weird Al Yankovich's "Ode to a Superhero". (9/5/2021)
Spider-Man 2 (2004)
"Superheroes aren't supposed to have problems. Why would they? They can do anything." At least that's what conventional wisdom said up until about two decades ago. Enter Peter Parker.
In this follow-up to Sam Raimi's box-office smash from 2002, Parker not only struggles with balancing a "normal" life with his role as the ever-popular webslinger. His friendships and close relationships are on the rocks, including friend Harry Osborn (who has vowed revenge against the man he blames for his father's death), secret love Mary Jane Watson (who's begun to lose faith and trust in him), and his widowed Aunt May (what with his own guilt over his Uncle Ben's death). Even more, he wrestles with fear over potentially losing said loved ones, and whether he should even continue in his self-chosen responsibility as a "hero".
Because this installment relies more on character developments, internal conflicts, and emotional depth (kudos to Raimi, as well as screenwriters Alfred Gough, Miles Millar, Michael Chabon, and Alvin Sargent) over action and special effects (spectacular and incredible as they are, especially with that visceral "Spider-Cam" cinematography and the now-unforgettable train sequence), this is a rare sequel that really improves on its predecessor in every way. Add in a fantastic villain in the form of Alfred Molina's Doc Ock (one of the greatest examples of a sympathetic adversary), and you have not only one of the best (and darkest) interpretations of Spider-Man, but one of the greatest (if not the greatest) superhero movies ever made. "Ladies and gentlemen, fasten your seat belts." (9/6/2021)
Spider-Man 3 (2007)
The potential was there. Teaser trailers for Sam Raimi's third Spider-Man film hinted at a darker chapter, borrowing heavily from the "Alien Symbiote" storyline from the comics (one of the most famous in the character's history), as Peter Parker succumbs to his bad side, romances Gwen Stacy, and faces off against his friend-turned-rival Harry Osborn (along with the Sandman and potentially Venom). The black suit was a plus. The inclusion of John Jameson (who, in the comics, journeys to space and inadvertently brings back the substance) in the last movie even showed such promise.
But alas, Hollywood has a long history of film franchises running out of steam, and the result in this case was one of the biggest letdowns in superhero cinema. Granted, Spider-Man 3 had a lot going for it. It had colorful characters (particularly Thomas Haden Church's Flint Marko), at least two or three terrific action sequences, and some worthwhile themes. What it didn't have was the sincerity and risk-taking from the previous films (especially Part II); even the aforementioned symbiote plot (which worked far better in the animated series from the 1990s, though the film did have some good homages) lacked any real depth and meaning. What we got instead was poor dialogue, cardboard characterizations (with the possible exception of J. Jonah Jameson and Marko), a hefty amount of fake CGI action (despite being the most expensive movie at the time), an amnesiac Harry, and an emo Peter that was more cringeworthy than sinister. At least 2018's animated Spider-Verse got a good laugh out of this latter infamous meme.
Like Christopher Reeve and Joel Schumacher before him, Raimi has since apologized for this third outing, despite it making millions of dollars at the box-office. It would've been interesting to see his take on the Vulture and the Lizard in a now-cancelled fourth movie. Neverthless, it'll be mind-boggling to see what he does with his return to the Marvel universe next year with the Doctor Strange sequel. (9/7/2021)
The Amazing Spider-Man (2012)
It's a curious thing that, five years after Sam Raimi left his Spider-Man franchise, Sony decided to reboot the series with a new cast--and familiar story beats that have now become tiring clichés and tropes.
That being said, I consider myself one of the few who actually liked 2012's The Amazing Spider-Man. I appreciated its more grounded, even grittier, approach, which was clearly inspired by the "Ultimate" versions from the comics (not to mention a capitalization on Christopher Nolan's Batman Begins). Its action sequences (while clearly CGI half the time) feel more visceral and immersive, even incorporating the wall-crawler's artificial webbing (absent from Raimi's original trilogy); the bridge rescue and crane sequences, for one, sure pack a real emotional punch. Its performances (particularly the genuine chemistry between Andrew Garfield's quippy and rebellious Peter Parker and Emma Stone's quirky and firm Gwen Stacy) are rich and engaging, its score (courtesy the late James Horner) is mysterious and wondrous, and its direction (courtesy [500] Days of Summer's Marc Webb, no pun intended) is slick and unique. It even features one of Stan Lee's greatest cameo appearances!
Still, only time will tell if this rendition will hold up. Less we forget, this represents part of an era where studios bought into the misconception that a "successful" comic book movie--and franchise--needed to be dark and gritty to rake in millions. My suggestion: wait a few extra years before you restart or continue a series instead of rushing (or, in this case, swinging) to the next installment. (More on that later.) And one more thing: try not to do the same thing(s) as before, especially if the audience already knows the main character's backstory. (9/12/2021)
The Amazing Spider-Man 2 (2014)
Andrew Garfield and Amy Adams did an "Actors on Actors" interview in 2016, where both discussed the difficulties of being a part of superhero franchises (Garfield with Spider-Man, Adams with the DC Extended Universe). One thing they agreed on was how the respective studios (Sony and Warner Bros) seemed to be more interested in quickly building on their own series rather than taking the time to tell effective stories.
Sony tried this when they quickly rebooted Spider-Man five years after Sam Raimi finished his trilogy that started in 2002. But it was clearly evident when they followed up the 2012 reboot The Amazing Spider-Man two years later, and attempted to build on the character's rogues gallery while giving more backstory on Peter Parker's parents in two-and-a-half hours (rather incoherently). Unfortunately, it suffers many of the same issues that 2007's Spider-Man 3 had, particularly with too many characters and one-dimensional (even goofy) dialogue; Jamie Foxx's one-note Electro (while visually dazzling) and Paul Giamati's hammy Rhino feel like the wrong characters in the wrong movie. If they would've focused solely on the relationships between Peter Parker and Gwen Stacy (Garfield and Emma Stone still deliver), Harry Osborn (the underrated Dean DeHaan), and Aunt May, it could've been a better film.
While not quite the absolute worst Spider-Man movie, there are a few elements that do stand out, like Hans Zimmer's cool score (including an awesome track over the end credits), Spidey's updated costume (echoing Bruce Wayne's Batsuit update from The Dark Knight), bold cinematography, and a powerful homage to "The Night Gwen Stacy Died" arc from the comics. As mentioned before, this short-lived interpretation represents Hollywood learning the hard way when it comes to building cinematic universes. Perhaps they should take a cue from Richard Parker's final recorded words in this film. (9/13/2021)
Spider-Man: Homecoming (2017)
After making his scene-stealing debut in Captain America: Civil War (2016), Tom Holland's energetic rendition of Peter Parker/Spider-Man gets his solo feature debut in the Marvel Cinematic Universe.
The good news: this co-production between Sony and Marvel Studios is a fresh, fun-filled take that ignores the clichéd origin story tropes of the character (i.e., radioactive spider-bite, Uncle Ben dying), something that proved a disadvantage in Andrew Garfield's previous iteration. Instead, Homecoming gets right into action as Peter tries to prove he has what it takes to join the Avengers, even while balancing his high school life and social relationships. (Director Jon Watts reportedly had the cast watch several John Hughes films from the 1980s for inspiration. Plus, you'll never hear the Ramones' "Blitzkrieg Pop" the same way again.) Michael Keaton makes a great, exceptional adversary as the Vulture (honestly, what is it with Hollywood casting Keaton in bird-like roles?), and the costume and visual aesthetic is a great homage to the original comics from the 1960s.
The not-so-good news: some of its content gets surprisingly crass (no different than what Hughes' films contained, yet Sam Raimi's and Marc Webb's movies never went this far), which feels out-of-place; the same applied to its 2019 follow-up. Plus, this blockbuster hit stands more as part of a larger film universe than as a solo story--and there are quite a few webs to connect, in that regard. Still, it is nice to see a franchise not repeating itself for a change.
WRITER'S NOTE: Check out my full review from 2017. (9/20/2021)
In the last two decades alone, Marvel Comics' Spider-Man has gone through three different live-action incarnations, almost half-a-dozen T.V. spinoffs, and even more than one major studio. You'd think by 2018 that, with the announcement of a new animated film from Sony, the general public had grown tired of such oversaturation and apparent unoriginality.
Well, imagine our surprise (and delight) when Into the Spider-Verse was released at the end of the year. Not only does it pull off the daunting task of incorporating various renditions of Stan Lee & Steve Ditko's ever-popular wallcrawler (from an older, pudgier Peter Parker; to a manga-inspired teenage girl; a hard-boiled detective; and even a talking pig). It does so in mind-boggling styling. Producers Phil Lord and Christopher Miller have stated they wanted the film to evoke the sense of walking into a living comic-book. And the tone and style (combining hand-drawn features in a bold, in-depth, and eye-popping CGI environment) is unlike anything ever put to celluloid, animated or live-action. Talk about out of this world! This is radical filmmaking and artistry of the highest order. (I saw it four times in theaters, and can honestly say that IMAX is the best format to experience it in.)
More importantly, the central story of biracial teenager Miles Morales (a fan favorite since his comic-book inception in 2011) gives the film its beating heart, showcasing an original, engrossing, and poignant arc--while hilariously satirizing the other backstories and tropes--of a young man thrown into sudden and extraordinary circumstances and coming into his own. In turn, he and the other "Spider-People" showcase that anybody (no matter what age, gender, race, or genre) can be a hero, and they're not the only ones. Sam Raimi may have made the best live-action Spidey film with his 2004 sequel, while Tom Holland may hold a current record for playing the character on screen the most times. But the communal, roller-coaster Spider-Verse leaves them all behind. Or should I say, webbed-up. (9/14/2021)
Spider-Man: Far From Home (2019)
Following the events of the crossover Avengers: Infinity War and even before the release of the record-breaking Avengers: Endgame, I (and I'm sure many others) wondered whether this 2019 Spidey follow-up (and the MCU's epilogue to their first three cinematic phases, now dubbed "The Infinity Saga") would take place before or after the former blockbuster. Like Endgame, I won't bother spoiling any major details or twists, except to say that the directions its globe-trotting story takes are quite surprising, mind-blowing, and genuine. (A few content issues, as with Homecoming, could've easily been avoided.) I will say, also, that Sony and Marvel have been taking full advantage of Peter Parker's rogues gallery so far (Jake Gyllenhaal's Mysterio is a knockout here). They've arguably made the some of the best teaser posters as well. The MCU will never be the same from here. "Be ready for anything." (9/28/2021)
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