Taking the Good with the Bad: My Thoughts on Spider-Man 3
By: Kurt AmackerDate: Wednesday, May 09, 2007
Spider-Man 3 opened on Friday to mixed, yet mostly positive reviews. It also opened to record-breaking box office receipts, making it the biggest opening weekend in history. Effectively, more people saw Spider-Man 3 in a single weekend than any movie, ever. The film’s release also broke the record for the widest one ever, showing on more screens than any other movie. I caught a Thursday-evening preview at a mall theatre in a neighboring city after standing in line for an hour-and-a-half. Ultimately, I felt the film had a lot to offer, along with a lot that I wanted to carve out with a magic editing knife. Before we dive in: as always, you can send your thoughts on Spider-Man 3 to kurtamacker@yahoo.com or comicscape@mania.com. I’ll run your letters next week with my responses. And, as always, major spoilers lie ahead. If you’ve yet to see the film, consider skipping to the listings.
Spider-Man 3 includes, appropriately enough, three storylines that unite at the film’s conclusion. We have the continued love triangle and strained friendship between Peter, Mary Jane, and Harry Osborne. Harry, of course, still wants to kill his friend for supposedly murdering his father, Norman Osborne – the Green Goblin. Then, we have the story of Flint Marko – an escaped con who experiences the prerequisite science-experiment-gone-wrong that turns him into the Sandman. The twist comes when Peter and his Aunt May learn that Marko actually killed Ben Parker. Finally, we have the story of the evil black symbiote costume from space that ultimately transforms Eddie Brock, Peter’s rival at The Daily Bugle, into Venom. The three eventually unite, but they do so largely through a series of coincidences and thin justifications. The Venom storyline presents the greatest problem for the film. The shoehorned subplot stands out next to the other two like a best friend sitting in the backseat on a couple’s first date.
Here’s the rub: Raimi included Venom and Gwen Stacy in this film to satisfy fanboy b-tching about why they hadn’t shown in the first two films. And, Spider-Man 3 suffers for it. The film begins with a clear understanding that Peter has grown arrogant and self-concerned. His newfound popularity has gone to his head, blinding him to the needs of others. The black suit only makes the problem worse, but that character development never hinges on the thing. Peter can act like a prick on his own. But, the black suit had to fall from space so that Spider-Man can wear it, dump it, and inadvertently pass it on to Eddie Brock. And, since Eddie has to become Venom – imagine the nerd rage if Raimi picked a different identity – the film needs to establish his tense relationship wither Peter. Raimi creates that tension with J. Jonah Jameson – still Russell K. Simmons, acting perfectly – pitting the two against each other for a staff position at The Daily Bugle, challenging both of them to catch Spider-Man on film committing a crime – Brock does, but with faked photos. All well and good, except that the entire Venom story really deserves another movie. Topher Grace’s otherwise capable performance as Brock feels all the more wasted for it. But, the problem with Venom shows most clearly when he finally encounters the Sandman. Rather than logically unite the two, Venom just finds Marko and proposes an alliance to take down Spider-Man. Then, an otherwise logical climax with the Sandman turns into the Venom Show. As it stands, Raimi includes Venom as an afterthought anchored to another useless subplot – Gwen Stacy. He introduces Brock by way of a failed date with Gwen, but one only mentioned after the fact. Anyway, Peter kisses Gwen at the ceremony and makes Mary Jane jealous. After the two temporarily split up, he takes Gwen to the jazz club where Mary Jane sings and waitresses. There, he performs an extravagant dance number that he concludes by sweeping Gwen off her feet in full view of Mary Jane. After that, we briefly see her at the film’s conclusion. The problem should ring obvious enough – except for her father serving as a captain with the NYPD, the character in the film bears absolutely no resemblance to the Gwen Stacy in the comics. Raimi put a blonde girl in the movie and named her after Spider-Man’s old girlfriend to silence the whining. But, the departure from her comic counterpart hardly bothers me in principle – it’s that film doesn’t need her in the first place. She serves no purpose other than to drive Mary Jane into a jealous fit. Peter can act like an ass to MJ without the help of another woman, let alone one written with the sole purpose of naming her “Gwen Stacy” to make geeks happy.
Since I’ve opened this review discussing the film’s worse qualities, I’ll keep going. Kirsten Dunst portrayed Mary Jane as an emotionally wounded, yet intelligent up-and-coming actress in the first two films. The third film presents her as a mediocre singer prone to more petty jealousies and idiotic misunderstandings than your average sitcom girlfriend. While watching her argue with Peter in the restaurant, I couldn’t help but think how easily two real people could’ve resolved the situation. But, she shuts down the conversation and runs off like a stock girlfriend character lifted from Friends. We got a great Bruce Campbell scene out of it, but still. The first two films showed a kindly, patient, and talented woman trying to sort out her life after an abusive upbringing. Any superhero worth his salt would show this new MJ the door instead of an engagement ring.
By now, I’ve likely convinced you that I disliked Spider-Man 3 through and through. I didn’t, though, because the film also offers a lot to like in between the forced subplots. Tobey Maguire has never struck me distinctly as Peter Parker from the comics, but he carries the film version well. I’ve got no serious complains. He especially shines in the moments where Peter acts like a royal prick to everyone around him. You can tell he enjoys those moments, probably because they seem like such a departure for the character. The dance sequence is stupid, but enough’s been said about it already. Actually, it’s only the first one that’s really unconscionable. The scene in the jazz club works all right. I’d eliminate the Saturday Night Fever homage from the face of the planet, if I could.
Flint Marko’s story begins very well. Like Doctor Octopus and the Green Goblin, the film makes us see the human side of the villain. While we never doubt his criminality, we also understand his desperation to save his daughter. The scene where Marko first emerges from the sandpit and tries to reform works very well. The site of him grasping for his daughter’s locket evokes a great deal of sympathy. That single scene made me feel very differently about CGI in modern cinema, because I doubt anyone could duplicate it (or at least do it that well) with practical effects. The film really cuts through Marko’s identity as a villain in the unlikeliest of places. At the start of the film, we learn that Marko actually killed Ben Parker outside of the arena in the first film. Dennis Carradine, the carjacker once thought responsible, just drove the stolen car away without Marko, who ran. Peter envisions him putting down his uncle in cold blood. But, when Marko explains the situation, we see a deeply humanizing moment. When he pointed a gun at Ben Parker and demanded his car, Parker merely looked at him and quietly told him to drop the gun and go home. He didn’t say so threateningly or even in fear for his own life. He saw a desperate man making a terrible choice. Only when Carradine bumped into Marko did he accidentally fire the gun. The film asks us to do the same – to see not a super-villain, but a good man acting in all the wrong ways. In fact, the final meeting between Spider-Man and the Sandman underscores the film’s greatest strength, which I’ll expound upon shortly. Unfortunately, despite those great moments, the film also forgets the Sandman for a while after a near-death resulting from a sewer fight with Spider-Man. We also fail to see much about Marko’s relationship with his daughter past the early scene in the apartment and a few other odd moments. I suppose they had to make room for Venom. Regardless, Thomas Haden Church does a great job presenting a distinctive, sympathetic super-villain in a series already noted for them.
The culmination of the story of Harry, Mary Jane, and Peter ends well, if a little contrived. Harry still clearly has feelings for MJ, and he still wants to kill Peter. After using the same goblin-gas that altered his father, Harry flies after Peter aboard his glider and tries to take him down in midair. A really spectacular chase ensues, culminating in a sharp blow to the head for Harry, followed by a bout of (yes, say it with me) amnesia. Harry remembers very little, save that his father has died and Peter and MJ were his friends. While the amnesia angle feels a little forced, Raimi makes it work by pulling the rug out from under the audience when Harry finally remembers everything. He transitions from vengeful to vicious, even lashing out at Mary Jane to hurt Peter. James Franco continues to effectively portray Harry as an angry, spoiled rich kid who refuses to believe that his father set the stage for his own death. In fact, my one complaint lies with the revelation by the Osborne butler that, in fact, Norman’s glider impaled him. It comes off as so cursory that one can hardly believe that Harry would take that as the impetus to help Peter in his fight against the Sandman and Venom. It almost feels like, “Oh, that’s different. I guess I should go help him.”
I thought the climax felt a little visually excessive. While watching it, I kept comparing the giant-size Sandman to the Stay-Puft Marshmallow Man from Ghostbusters. As I mentioned earlier, the whole Venom bit comes off as ridiculous and it adds very little to the culmination of the character arcs established in the first film. The real magic happens in the reconciliation between Harry and Peter and the latter’s forgiveness of Flint Marko for the murder of his uncle. When Harry arrives to help Peter, the film takes on a thrilling, almost joyful tone as the once-estranged friends finally team up. And yet, we also see the consequences of Harry’s bloodlust when Venom kills him. If he’d never sought revenge, he might well have lived (of course, he might not have saved Peter, either). Peter takes the lesson Aunt May imparts to him earlier in the film to heart when he forgives Flint Marko – that the desire for revenge poisons the soul and makes monsters out of men. In Harry, the film shows us what Peter could become – what he nearly becomes – in his quest to avenge his uncle.
I took the film’s theme of reconciliation and the consequences of revenge to heart. As much as I love darker heroes hell-bent on street justice, in reality, I usually prefer to clear the air with people. I don’t like to let things fester. In my darker moments, I sometimes feel like I’m the only that ever apologizes. I feel like no one else seems to show the same consideration. I tell people I’m sorry all the time, and I usually mean it. Rarely do I offer a cursory, functional apology. The quote from Mary Jane played over the trailer for Spider-Man 3 states it aptly: “We’ve all done terrible things to each other. But we have to forgive each other, or everything we ever were will mean nothing.” Many writers use tragedy as an impetus to give their character a cape and a mask, and everyone loves a good revenge story. But Spider-Man 3 shows how the desire for vengeance can take a person to a vicious, ugly place – one where we become consumed by hatred. I’ve spent a lot of my adult life reacting to things that happened to me in the past, to the point where I’ve almost allowed my lowest moments to define me. Like Superman Returns (but less so, unfortunately), Spider-Man 3 touched a personal note that made the experience more stressful, yet more meaningful in the end.
When people have asked me if I liked Spider-Man 3, I usually reply, “It was good, but not great.” I stand by that assessment. The film works amazingly well in some parts, but the clearly forced Venom subplot brought a great film down to a merely good one. Now, what do you think?
The Spinner Rack
By Ben Johnson and Kurt Amacker
DARK HORSE COMICS
Blade of The Immortal #125 (MR) $2.99
Courageous Princess TP $14.95
Kurt: Um, Leia?
Samurai Heaven & Earth Vol 2 #4 (of 5) $2.99
Ben: This title is my zen.
Secret #4 (of 4) $2.99
Ben: I’m stoked to see the payoff.
Star Wars Dark Times #3 (of 5) $2.99
Kurt: Okay, wouldn’t the dark times just be the present time in the Original Trilogy? I kind of thought Obi Wan was just generalizing about the state of the galaxy and no referring to a particular time period. This is almost like giving a miniseries to that one alien you saw for five seconds in Jaba’s palace, just before he dropped the dancer in the Rancor pit.
Star Wars Legacy #11 $2.99
DC COMICS
Batman Strikes #33 $2.25
Cartoon Network Action Pack #13 $2.25
Countdown #51 $2.99
Ben: $2.99 down, $152.49 to go….
Kurt: Yeah, let’s hope this pans out.
Devil Does Exist Vol 10 $9.99
DMZ #19 (MR) $2.99
Friday The 13th #6 (MR) $2.99
Ben: Isn’t Corey Feldman in the intro to this?
Kurt: We’re going to run out of jokes after issue #10. You realize that, don’t you?
Gen 13 #8 $2.99
Ben: I used to think Gail Simone was a good writer.
Green Arrow #74 $2.99
Green Lantern Corps #12 $2.99
Green Lantern Corps Vol 1 To Be A Lantern TP $12.99
Grifter Midnighter #3 (of 6) $2.99
Jack of Fables #10 (MR) $2.99
JLA Classified #38 $2.99
Mad Classics #15 $4.99
Mad Magazine #478 $3.99
Musashi #9 Vol 11 $9.99
Mystery In Space #8 (of 8) $3.99
Nightwing #132 $2.99
Outsiders #47 $2.99
Stormwatch PHD #7 $2.99
Tales of The Unexpected #8 (of 8) $3.99
Y The Last Man #56 (Res) (MR) $2.99
Kurt: And, we’re only a few months away from the end. I’m going to miss it.
Y The Last Man Vol 9 Motherland TP (MR) $14.99
IMAGE COMICS
Battle Pope #14 (MR) $3.50
Blood Nation #4 (of 4) $2.99
Ben: Was this on a weekly schedule?
Kurt: I don’t know, but I should’ve grabbed it.
Bomb Queen III #3 (of 4) (MR) $3.50
Ben: Boobs, Bombs… Boring!
Darkness Pitt WWTX First Look Ltd Ed VAR CVR $10.00
Ben: Continuing the tradition of threatening our readership I would like every one of you to know that I will personally hunt you down if you buy this.
Kurt: And I would like everyone to know that I heard Ben say it too, so if you end up dead, I’ll gladly testify against this lunatic I don’t know that keeps writing jokes for me.
Invincible #41 $2.99
Ben: Is it just me or has Kirkman been treading water lately?
Kurt: Um, judging by his girth, I don’t think he’s been in the pool a lot lately. But, I still love the guy.
Madame Mirage First Look $0.25
Noble Causes #29 $3.50
Phonogram #6 (of 6) (MR) $3.50
PVP #32 $2.99
Spawn New Ptg #166 $2.95
Strongarm #3 (of 5) $2.99
Kurt: I wonder if Strongbad knows about this.
MARVEL COMICS
Amazing Spider-Girl #8 $2.99
Amazing Spider-Man #540 $2.99
Annihilation Saga $1.99
Ben: For you out of the know, this is like the Infinity Saga but, you know, good.
Black Panther #27 CWI $2.99
Blade #9 $2.99
Kurt: I hate to drop every Blade book that comes out, but this just doesn’t cut it. Pun totally intended.
Civil War Front Line Book 2 TP $14.99
Civil War Peter Parker Spider-Man TP $17.99
Criminal Vol 1 Coward TP (MR) $14.99
Kurt: I’d like to announce my engagement to Ed Brubaker. We’re going to have beautiful children.
Essential Fantastic Four Vol 6 TP $16.99
Eternals By Neil Gaiman HC $29.99
Eternals By Neil Gaiman HC Var Ed $29.99
Ghost Rider #11 $2.99
Ben: You might be able to stay on for 8 seconds, but ectoplasm never comes out.
Kurt: And if you’re Al Brown, 8 seconds is all you need. Oh yeah, I’m digging up Al’s grave.
Hulk And Power Pack #3 (Of 4) $2.99
Ben: I hope he eats the little bastards.
Kurt: That would be great in The Ultimates, but I don’t think it’ll happen here.
Immortal Iron Fist #5 $2.99
Ben: My current Marvel favorite.
Kurt: They’re sitting on my floor underneath the giant stack of unread X-Men books, also by Ed Brubaker, because, you know, he rules.
Marvel Adventures Fantastic Four #24 $2.99
Marvel Adventures Spider-Man Vol 6 Black Costume Digest TP $6.99
Marvel Tales Flip Magazine #24 $4.99
Marvel Zombies 4th Ptg Avengers HC $19.99
Marvel Zombies Dead Days $3.99
Ben: It’s time to kill this one.
Kurt: What happens when a publisher takes a cute idea and drives it into the ground? Read this and find out!
New Avengers #30 CWI $2.99
New X-Men #38 $2.99
Nova #2 CWI $2.99
Ben: I hope Nova kicks the crap out of Stark.
Omega Flight 2nd Ptg Kolins Var #1 (of 5) $2.99
Punisher War Journal #7 CWI $2.99
Ben: Let’s see how this new costume thing plays out.
Kurt: All right, I’m really damn curious about this. I love this book.
Spider-Man And Power Pack Big City Super Heroes Digest TP $6.99
Spider-Man Fantastic Four #2 (of 4) $2.99
Thunderbolts #114 CWI $2.99
Ben: Good times!
Kurt: This book is amazing.
Thunderbolts Crain Var #114 CWI $2.99
Ultimate Power #5 (of 9) $2.99
Ben: This is still going?
Kurt: But more importantly, does anyone care?
Wolverine Origins #14 $2.99
Kurt: I’m sure someone in the comments section will repeat my joke about Ultimate Power in reference to this series. I’m outta here.



