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More than a few critics hailed
Spider-Man 2 as "the best superhero movie ever," and there's no compelling reason to argue--thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above
Spider-Man in terms of emotional depth and rich comic-book sensibility.
Ordinary People Oscar®-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings
Spidey 2 to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of
Spider-Man 2 is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring
Spider-Man creators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of
Spider-Man 3.
--Jeff Shannon
Peter Parker (Tobey Maguire) is having problems with his stickiness. He keeps changing into his Spiderman duds, leaping through the canyons of Manhattan, and finding, to his dismay, that the white stuff just won't shoot in the way it used to. No option but to hang up the outfit and walk away. Fortunately, we are only halfway through the movie. Once again, Sam Raimi is the director, and once again the plight is one of uncertainty: to swing or not to swing? Not until the arrival of Doc Ock (Alfred Molina), a many-limbed scientist who likes to do antisocial things to subway cars, is our hero moved to rejoin the action. Molina is the real draw of the film, opting not for the standard evil genius but for a good, sorrowing genius who is nudged into malice by boredom and bereavement. In fact, despite the fantastical high of the set pieces, (not least the most pertinent use of a lady's umbrella since "Mary Poppins"), almost everyone here feels rather lonely and stuck. This could be the first superhero franchise that will end up requiring the services of Ingmar Bergman. With Kirsten Dunst, dreamier than ever, as Peter's beloved (but not girlfriend). -Anthony Lane
Copyright © 2006
The New Yorker