Bug be gone
Spider-Man surfs web one last time
By John Larsen 05/03/2007
Critic-proof, Spider-Man 3 is also a victim of its own success. After the colossal box-office success of the first two films, the franchise had no choice but to become even more larger-than-life, piling on enough romance, destruction, close calls and mythology to bury a weaker film.
Possibly the last film in the current series, Spider-Man 3 goes out with numerous bangs for the buck, pitting Spider-Man against three villains and two damsels in distress. When Peter Parker (Tobey Maguire) learns one of his nemeses is connected to the death of his Uncle Ben (Cliff Robertson), it becomes personal.
Also taking it personally is Peter’s best friend Harry (James Franco), still masterminding a way to get even with Spider-Man for the death of his father, and hotshot photographer Eddie Brock (Topher Grace), who transforms into the deadly Venom. Talk about having your hands full. Also caught up in Spider-Man’s web is girlfriend Mary Jane Watson (Kirsten Dunst), who is getting ready to make her mark on Broadway, and Gwen Stacy (Bryce Dallas Howard), rescued from certain death by the web-slinger.
Just when things couldn’t get darker, Peter/Spider-Man becomes infected by a black oil (think X-Files) which taps into his dark side, creating a psychological split. Writer-director Sam Raimi and co-writers Ivan Raimi and Alvin Sargent barely give the characters time to breath before pounding and pulverizing them, turning the two-hour-plus film into a marathon grudge match.
There are a couple of sweet, unassuming moments, including a magical interlude between Peter and Mary Jane on a giant, glistening web, but they are overshadowed by the plot’s revenge mechanics. After two films, maybe the writers felt we knew the characters enough to dispense with further development. Instead, they rehash the plot points from the previous films. Mary Jane is jealous of Gwen, Eddie is jealous of Peter, Harry is angry at Spider-Man, Spider-Man has a revenge hard-on for Flint Marko (Thomas Haden Church), the thug involved in the death of his uncle and who can now transform into Sandman. All this as poor Peter does battle with his split personality.
The script is more of a road map, a reason to get the characters from point A to point B, logic be damned. Peter’s internal conflict provides the film with its most intriguing moments, turning the dutiful Peter into a superhero frat boy, exploring his dark side, first with apprehension, then relish. He’s like the dual Kirks in Star Trek: one good, one bad, both looking for reconciliation.
The filmmakers tinker with superhero mythology without diminishing it. Spider-Man 3 is obviously an attempt to ground the characters, giving them reason beyond their designated roles as heroes, victims and villains. Like Harry, who understands the only way to avenge his father is to kill his best friend. Even if Harry wins, he loses.
Sandman is more emblematic of the series, a creature created by science, capable of turning the streets into dust bowls. The visual effects team earns its money — and our respect — with their jaw-dropping depictions of comic book violence and destruction. Sandman isn’t just a fuzzy collection of pixels; he is a breathtaking, malevolent presence who constantly challenges our senses. Church emerges from the maelstrom intact, lending a human voice to an inhuman monster.
Issues of duality plague most of the characters, none more so than Peter/Spider-Man. After two films of life-saving heroics and pursuing Mary Jane, Spider-Man can finally enjoy the rewards of his hard work. The streets are safe, he is about to propose to Mary Jane, and then his past catches up with him. After Spider-Man rescues Gwen from a collapsing building, her public display of affection catches Mary Jane off guard. It is only a matter of time before jealousy and resentment from all camps take their toll on Peter.
Maguire is extremely comfortable in Spider-Man’s boots, more confident and determined. There’s joy in his cadence and love in his eyes, but when evil manifests itself, sincerity melts into disillusionment. Peter never asked to be a superhero, but he accepts the responsibility. What he really wants is to go to school, work at the Daily Bugle, and marry the girl of his dreams. When those responsibilities conflict, Maguire helps us feel his struggle.
Dunst remains the consummate Mary Jane, but Spider-Man 3 is decidedly testosterone. Dunst goes through the motions, but her moments are small compared to the male co-stars. Franco takes Harry to the next stage, upping his urgency to end Spider-Man’s reign. At first, Grace’s Eddie Brock comes across like Peter Parker-lite, a competing shutterbug with a thing for Gwen. When his character undergoes a metamorphosis, Grace rises to the occasion. Venom is truly a frightening creation.
Raimi lines the frames with familiar actors, but he is so intent on sending Spider-Man out with a bang that there is little downtime. The characters filter in and out, giving the film a sense of community as it spirals towards a battle royale. Since Raimi has already laid the groundwork, he uses this to skip the pleasantries and get on with the action.
And does he! Raimi and his team of visual artists, production designers and technical magicians pack as much digital gee-whiz into the film as their enormous budget can buy, stretching the film 10 minutes to accommodate its scope. Audiences will not be disappointed.
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