Except for The Amazing Spider-Man, here are the movie reviews I wrote for the July issue of EL Magazine, which was distributed in Tokyo on Monday.
The Amazing Spider-Man
The gratuitousness of rebooting Marvel’s most indiosyncratic character will certainly be discounted by all the money it will make, but those idiosyncrasies were never fully exploited in Sam Raimi’s trilogy so there’s at least that to look forward to. Moreover, Andrew Garfield, with his more hyper take on teenage nerdiness, skews closer to the image I have of Peter Parker than did Tobey Maguire, whose laid-back sensitivity seemed too self-conscious for what was basically a high school soap opera that aspired to grand opera. Marc Webb’s movie delves deeper and more carefully into the source material by centering the plot on Peter’s dead parents. Were Webb more adept at the exigenicies of pulp storytelling he might have made the mystery of Richard Parker’s (Campbell Scott) flight into the night and subsequent fatal accident actually compelling, but the solution, put off too long and with too much business in between, seems secondary to so much other stuff. And Webb’s supposed strong suit, his facility with young-love stories, is undermined by the scriptwriters’ use of the hoariest romantic cliches when mapping out Peter’s crush on and eventually winning of the brainy beauty Gwen Stacy (Emma Stone). Webb finds his footing in the relationship between Peter and his Aunt May (Sally Field) and Uncle Ben (Martin Sheen). Personally, it was Peter’s hormonally charged interactions with adults that made me a fan of the comics way back when; the way his secret superhero status exacerbated the usual pitfalls of adolescence and thus made his suffering all the more poignant. Garfield nails this dramatic counterpoint, alternating the emotional highs attendant to his discovery of his new powers with the self-hatred attendant to his lapses of responsibility. When Spider-Man, full of himself, taunts a petty thief holding a knife, one feels the full impact of stupid, giddy youth that the original comic was so good at conveying. Likewise, when he realizes the pain his erratic behavior is causing his aunt he punishes himself with exaggerated ferocity. The punishment he metes out to the nominal villain, Dr. Curt Connors (Rhys Ifans), isn’t nearly as potent but we have CG for that, and even though Webb has more sophisticated technology at his disposal than Raimi had, the action set pieces don’t cohere. When the big finish wraps up you may wonder what the outcome really is, and then have to contend with the usual wait-til-the-next-installment implications. The fact that Peter Parker is much more interesting than Spider-Man makes The Amazing Spider-Man better than your average superhero blockbuster, but unfortunately Spider-Man is still the main draw. (photo: Sony Pictures Entertainment and Marvel Comics) Continue reading










