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In Reply to: I was gonna see Spidey 3 until this headline: "No one likes a fat spider." posted by clarkjohnsen on May 5, 2007 at 08:19:21:
I managed to catch an early showing of Spiderman 3 Saturday; in spite of marginally impressive effects, which are expected in a big-budget film of this nature, there seem to be quite a few glaring logic flaws in the execution of this film's storyline and only one or two truely eye-popping action scenes. In retrospect, if I were going to provide Spidey's support web with anything like a positive disclaimer, it would be that Sam Raimi's third outing with this character was overly ambitious.NOTE: I'll try to avoid giving too much away even though the various plots and subplots are somewhat predictable, but for those who don't like to be fed too much information before catching a film I'll just add a cautionary caveat that there are numerous spoilers below.
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VPrecious coincidences reigned supreme in Spiderman 3: the coincidental meteor's "Venom" alien just happened to snag Peter Parker by luck of the draw, for no apparent reason; Spidey just happens to save Gwen Stacy from a freak accident; who also just happens to be Parker's science class study partner; who also just happens to be the girlfriend of the same freelance photographer who is after Parker's job; who just happens to be praying for vengence in the same church that Spidey happens to be hanging out in the bell tower, etc.! Sheeeesh!
Then there is the forced logic of the last minute Sandman apology to Parker just after he'd tried to kill him, and Harry's last minute rehabilitation (not achieved by a miraculous psychiatric breakthrough, but by a couple of thoughtful lines provided by his father's butler) that allows him to come to Spidey's rescue and sacrifice himself. Again all is forgiven and we are left to assume that Harry supposedly goes to a better place, but apparently not as good a place as the Sandman who survives and boogies after his apology.
The developing relationship between Maguire's Parker and Dunst's Mary Jane Watson which rang truer in the earlier two films seemed forced and implausible this go-round, even within the confines of the graphic novel superhero genre. Parker's nerdy awkwardness became annoying and less convoincing in light of her knowing his true identity and Mary Jane's jealousy of Spiderman's fame seemed in conflict with the Parker character's efforts to support her aspirations.
Unfortunately, there wasn't nearly enough on-screen time for J. K. Simmons' hot tempered J. Jonah Jameson (since his character is the most fully realized of any of the supporting characters, IMO), and two songs for Kirsten Dunst is at least one two many (some folks will think I'm being generous here); on a five star scale I'm going to have to drop the film half a star just over these inclusions and omissions.
My rating **1/2 of ***** (IMHO, it's probably worth one theater viewing if you like well rendered special effects and already like the characters. In fact, Spiderman 3 'might' make a good DVD package, with a judicious re-edit and/or loads bonus features, but as a cinema experience, Sam Raimi's attempt at wrapping up several convoluted story threads too neatly left this viewer dissatisfied).
Those who've seen this film, please feel free to share your own opinions and experiences.
Follow Ups:
This is the beginning of the end for this series, resembling what happened in "Superman 3, 4, ..." with forced humor and characters acting like infantile assholes (both Parker and Oswald Jr.). Clark is dead-on about all the implausible coincidences and unexplainable changes of heart. In addition, the actors aren't allows to express much, as their roles are mostly taken over by SFX. Compare what the villain roles were like for Davoe and Molina in "Spidey 1 and 2" to the short shrift Topher Grace gets (okay, he's the king asshole here). The best part in this film is when Betty Grant is torturing Jameson with her message buzzing to take his medicine. Heck, I vote for a film with a lot more Betty Grant (hubba, hubba!) and Parker, and a lot less Mary Jane and Gwen Stacy/Stefani. One final note: Parker almost cuts free of his past here in forgiving Marko for killing Uncle Ben, but Aunt Mae has to die (please!) to complete the transition. I say, do that and let Parker become a man.
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