SPIDER-MAN 2 (2004)

After all these years Spider-Man 2 still evokes a sense of awe. I can’t defer to my own experience of watching this film in cinemas (my mother attests that, at three years old, I began to cry every time Spider-Man disappeared from the screen). But even then this protagonist was a thrilling figure, sweeping through the New York City skyscape as its monumental buildings became a blur with each graceful glide through the air.

While leeway can be afforded to slightly older films for conveying such moments of epic scope visually, this film is still a near-seamless experience on that front. Simply watching Spider-Man scaling buildings, casting webs to cushion innocent civilians’ falls, or nosediving to the ground from enormous heights is a thrilling experience. This, when coupled with director Sam Raimi’s excellent shot placements and direction, leads to some of the most well-crafted action scenes of any superhero film.

The visual storytelling on display creates a sense of momentum to fight or rescue scenes that complement the breakneck pace of Spider-Man 2. Even transitions between scenes are conveyed as quickly as possible, with some really fun moments that tap into this film’s intentional silliness. Of all its sequences, none were more impressive on a visual level than Dr Otto Octavius’ (Alfred Molina) emergence as a villain. Once an experiment of his goes radically wrong, his identity became fused with mechanical tentacles. Before he is able to become fully conscious, the tentacles attack the doctors and nurses attempting to remove them, in a scene that is simultaneously action-packed, horrifying and comedic.

The fast pacing and diverse shot selections are a treat for the eyes, with one marvellous sequence after another delivered in quick succession. One recurring motif of Spider-Man 2 consists of innocent civilians and bystanders screaming as if their lives depend on it, which is often hilarious. But in this case it’s also rather terrifying listening to these doctors and nurses cry out and helplessly flail against their fate for what feels like minutes. This particular scene embodied much of the chaos that made Raimi’s Evil Dead films so iconic, even featuring a bone saw that harkens back to Ash Williams’ iconic chainsaw in the Evil Dead series.

For as fun as these sequences are, whether it’s watching Doc Ock terrorising civilians or Spider-Man’s efforts to thwart him and other wrongdoers, some of the best moments in Spider-Man 2 are found in exploring how Peter Parker (Tobey Maguire) is struggling to get by while continuing his role as a superhero. Almost the entirety of the first half of this movie involves Peter being kicked down by life in every conceivable way, whether it’s relationship troubles with Mary Jane (Kirsten Dunst), struggling to financially support himself and his aunt May (Rosemary Harris), or trying to further his studies as his grades keep slipping.

He keeps being hemmed in by outside forces, yet Peter remarkably puts up a brave appearance and trudges on. There are some really funny scenes relating his struggles, like when he constantly misses out on the drinks and hors d’oeuvres served at a fancy dinner party he is photographing for The Daily Bugle, or Aunt May accidentally kicking a banker in the shin instead of Peter when her nephew questions her supposedly teaching piano lessons.

It would be a grave mistake not to mention arguably the funniest moment in the film, where the head of The Daily Bugle, J. Jonah Jameson (J. K. Simmons), laughs when Peter asks for an advance. Watching this stern and larger-than-life figure erupt into genuine, spontaneous laughter at such a pity-inducing request is a hilariously depressing representation of how this protagonist’s life is going.

But there are also some compelling dramatic beats here, where Spider-Man 2 very organically depicts Peter’s setbacks without desperately vying for our pity, as lesser movies would. These moments are integrated into the story brilliantly, showcasing this film’s phenomenal pacing as it tears through different plotlines. This is just one way that this sequel is superior to the original film, which, for all its iconic moments, is a lot more amateurish than this one. Its tone is a bit all over the place, failing to strike that golden balance between drama and comedy that’s so vividly realised in Spider-Man 2.

The VFX is also very dated in the original film, making it difficult to be immersed in its action scenes. Even some of its basic shot-reverse-shot sequences are quite awkwardly delivered. And though there’s much to appreciate about the first movie’s story, the opening sections feature many scenes that wouldn’t go amiss in a run-of-the-mill teen comedy about a nerdy kid with a crush on the hot, popular girl in school. While it’s still an entertaining, solid movie, the second film’s depiction of this protagonist is far more compelling. Peter’s lack of self-pity and his dogged efforts to keep his head above water aren’t just relatable, they’re as heroic as his spectacular quests as Spider-Man.

It’s for this reason that, while Tom Holland might work better as a believably awkward yet endearing teenager, Toby Maguire is still the best actor to portray Spider-Man as a young man trying his best to do good even when it seems like nothing is going his way. Not only does no one know Peter’s other identity, but he’s so wrapped up in personal and financial troubles that he can barely interact with other people as Spider-Man. 

Although one of the most memorable aspects of this character is how goofy he can be, Peter’s efforts to better himself even as life keeps throwing these curveballs his way makes him extremely likeable. Unlike many other superheroes, he doesn’t just feel like a regular person, he is shown to struggle even in the most ordinary of circumstances. But what is really impressive about how these insights into Peter’s life and mindset are revealed is that they never clash with the other elements of Spider-Man 2’s exciting plot.

Now that Dr Ock has fully integrated into his evil persona, having been consumed by it in a similar way to how Peter’s responsibilities as Spider-Man threaten to consume him, it seems only fair that this protagonist should give up his superhero role and resume everyday life. After all, it’s not paying the bills, and his relationship with Mary Jane is essentially destroyed because of it. When it is announced that Mary Jane is getting married at the fancy dinner party Peter is working at, this is the death knell of Peter’s attempt to balance his responsibilities, where he has tragically lost the woman he loves along the way.

But even with this announcement, it never feels like this faltering relationship between him and Mary Jane is over for good. That might be part of what makes it difficult to empathise with Peter’s love interest, as it’s hard to connect with her frustrations over his lack of commitment when it seems like she is willing to abandon her fiancé so long as Peter changes his ways. Mary Jane is also portrayed by Kristen Dunst so simplistically here that it’s as if the character has no internal voice or guiding motivations.

Eternal Sunshine of the Spotless Mind (2004), also starring Dunst, was released the same year as Spider-Man 2, and the difference between both performances is staggering. She’s also playing an easygoing, naïve character in Eternal Sunshine, but there’s so much more to appreciate about her performance in the nuances of her acting. In comparison to that film, it doesn’t feel like we’re following an authentic character here. Mary Jane was more entertaining in the first Spider-Man movie, since it was easy to relate to her depressing home life and dreams of greatness, all while existing as an abstraction for Peter before the pair gradually grew closer.

Thankfully, the acting in Spider-Man 2 is stellar in every other area, with Maguire knocking it out of the park once again as a conflicted Peter Parker/Spider-Man. Alfred Molina perfectly embodies the menacing and gleefully evil aspects of Doc Ock, while J. K. Simmons as Jameson is genuinely one of the greatest casting choices in cinema history. Despite Simmons delivering excellent performances outside of this role, it still feels like this was the character he was born to play. Jameson’s gruff nature and his frequent toying with Peter is always a delight to watch.

If any criticism is warranted in the case of this movie, it is that its final 20 minutes don’t strike the same chord as the rest of the experience, where it opts for rather plain action set pieces and dramatic moments. The romance subplot between Peter and Mary Jane is only interesting insofar as it is yet another aspect of this protagonist’s life that is unravelling, but it is not a compelling or dynamic love affair outside of this. And while Doc Ock is a worthwhile villain, it’s difficult not to feel like something is missing in the final action-packed showdown between him and Spider-Man. There’s nothing wrong with these scenes, but they don’t feel nearly as urgent as the climax of a film as great as this should.

It is possible that adding another villain to the mix would make this movie feel bloated, but Doc Ock feels like a minor antagonist compared to how Peter’s former friend Harry Osborn (James Franco) seems poised to take over the mantle as the third film’s villain. While Harry is not a core component of Spider-Man 2, he’s still a pretty consistent presence, with screenwriter Alvin Sargent cleverly incorporating him into this story on several occasions.

The revelation to Harry that Peter Parker is Spider-Man is an iconic moment,  aided by how little it matters in the immediate moment, with Peter still managing to convince Harry to help him save Mary Jane from Doc Ock. Just as Harry remarks to Spider-Man earlier in the film that nothing has changed when he is rescued by the superhero, it is brilliant to see him grapple with this same concept after learning that his close friend was responsible for his father’s death.

Although it brilliantly sets up the series’ third film, one more element or an additional villain could have redeemed a fairly run-of-the-mill final section. But everything else in this movie is a blast to watch, with breakneck pacing, brilliant action sequences, (mostly) excellent performances, and an endearing protagonist that you genuinely want to succeed.

And even all these years after its release, the CGI has held up quite well. That’s partly because a lot of the action-oriented scenes move at such a brisk pace that the occasionally fake-looking shot is quickly forgotten amidst the impeccable visual storytelling. But the movie also has some genuinely brilliant VFX, making it a deserving Academy Award winner for ‘Best Visual Effects’.

Spider-Man 2’s greatest quality is how it effortlessly taps into different tones, making for an enjoyable experience for audiences of all ages. It’s not too dark to dissuade children from watching, but it also features thrilling action sequences and a relatably downtrodden main character. There’s a spirit of silliness to many of these moments that adds so much joy to the film, but which never detracts from its serious moments either. This effortless fusion of tones and genres makes for an incredibly fun experience, as well as one of the best superhero films ever made.

USA | 2004 | 127 MINUTES | 2.39:1 | COLOUR | ENGLISH • RUSSIAN • CHINESE

Cast & Crew

director: Sam Raimi.
writer: Alvin Sargent (story by Alfred Gough, Miles Millar & Michael Chabon; based on ‘Spider-Man’ created by Stan Lee & Steve Ditko).
starring: Tobey Maguire, Kirsten Dunst, James Franco, Alfred Molina, Rosemary Harris & Donna Murphy.