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[DXLelouch153]

Really? Sure doesn't seem that way.

ASM portrayed Peter becoming a Spiderman to find his uncle's killer, and proceed to become a hero later on for some reason after bullying an armed robber---which I can only assumed because he enjoyed being a cunt in a mask.

i meant in general
he said anyone would of became Spider-Man if the spider bit them
which is complete bullshit
what if it bit Flash Thompson
New York would be fucked

 

[mrkgoo]

i meant in general
he said anyone would of became Spider-Man if the spider bit them
which is complete bullshit
what if it bit Flash Thompson
New York would be fucked

The whole concept of "any guy" is not about who can become the hero spider-man, but it's kind of supposed to Instill in kids the idea that something can come from nothing, like a hero can come from the most unassuming place.

It inspires kids' imaginations in that something could happen to them. Getting roped onto something much bigger and epic than their normal lives. It's that human element that makes spider-man more interesting than, say, superman or batman to me.

 

[Trike]

i meant in general
he said anyone would of became Spider-Man if the spider bit them
which is complete bullshit
what if it bit Flash Thompson
New York would be fucked

Then maybe Peter would end up being the double amputee Venom.

 

[Draconian]

I think the writing really let this movie down as I think there are some great performances. Harry's storyline felt completely tacked on and Green Goblin shows up way too late to matter. Electro was ridiculously over the top. He gets angry when he sees Spider-Man getting more coverage on the screens in Times Square...really?

I don't understand why they gave Electro a dramatic monologue about creating a world of darkness with no more Spider-Man just so he could stay in the lab for another half hour before finally Harry frees him for the very end of the movie. There are just some head-scratching decisions that I don't think make much sense at all. See also the scene where Spider-Man shows up at Harry's place just to tell him he won't give him his blood. What's the point? Anything you could've done would've been guaranteed to tick him off less, but by all means, let's go there and make him mad for no reason at all. Makes perfect sense.

 

[Salamando]

There's was a spider-man comic I read once, may have been a once-off, where an elderly man approaches peter and knows who he is. Strangely, this gentleman has the same powers as spider-man.

He offers a thought that sort of makes him look at his origin differently - what if it wasn't the radioactive spider that was special and gave him powers, but rather he was special and the radioactive spider awakened his powers?

The guy you're talking about is Ezekiel. He showed up during an arc where a supervillian named Morlun appeared to feed off Spidey's totem-ness. What ended up saving Spidey's butt was the radiation part of his origin, not the spider part.

i meant in general
he said anyone would of became Spider-Man if the spider bit them
which is complete bullshit
what if it bit Flash Thompson
New York would be fucked

Flash was bitten in a What If story. He was still inspired to do heroics, but ended up dying in the process. Can't hold it against him too much though. How many times as a Peter Parker Spider-Man died now? He just came back from a death a month ago.

 

[Hatchtag]

Can they kill Aunt Maye next? I want Aunt Maye to die next. I absolutely hate her in these movies. She just comes off as a complete bitch in both of them.

 

[nomis]

I still don't get the hate this movie is getting. I saw it in imax 3d and thought it was incredible. The experience of it in imax was top notch. Actually, we just re watched the amazing Spiderman on our 3d TV at home last week. Sony did an awesome job with the 3d, as I thought it was better done than almost any other home 3d I've seen. Back to asm2 though, are you guys seeing it in anything comparable to imax 3d? I could imagine a standard screen diminishing the wow factor quite a bit honestly.

Considering that the only qualitative thing you've actually stated about the movie is how wow amazing the IMAX 3D 3D was in 3D, I think you and the people "hating" on this movie go to the movies for different reasons. People may not realize that they like coherency and clear motivations and actual character arcs and emotional payoffs, but their brains do. Tends to make a movie endearing when the characters don't just spin their wheels before arriving at an obligatory event from the source material, which has no actual meaning in the adaptation.

 

[B-Dubs]

I think the writing really let this movie down as I think there are some great performances. Harry's storyline felt completely tacked on and Green Goblin shows up way too late to matter. Electro was ridiculously over the top. He gets angry when he sees Spider-Man getting more coverage on the screens in Times Square...really?

I don't understand why they gave Electro a dramatic monologue about creating a world of darkness with no more Spider-Man just so he could stay in the lab for another half hour before finally Harry frees him for the very end of the movie. There are just some head-scratching decisions that I don't think make much sense at all. See also the scene where Spider-Man shows up at Harry's place just to tell him he won't give him his blood. What's the point? Anything you could've done would've been guaranteed to tick him off less, but by all means, let's go there and make him mad for no reason at all. Makes perfect sense.

Agreed. There's a good movie in there somewhere, deep down. They needed to ditch Electro and just do a proper Green Goblin story. They should have just adapted the source material directly instead of trying to put a huge spin on it.

 

[GAMEPROFF]

How many times as a Peter Parker Spider-Man died now? He just came back from a death a month ago.

Once. And even this was kind of a shed, so it doesnt even really count.
Also he was not really dead when he switched bodys with Ock. Just the body of Ock died, his mind was ok.

 

[Dryk]

I was listening to a podcast and they say the original ending was supposed to have Harry still laughing after Gwen died. The fight resumed and Spider-Man pretty much beats the shit out of him, like near death. That ending gave the movie an R rating so that's why they went with the ending we have.

Isn't that the ending to Star Trek Into Darkness?

 

[blame space]

the whole movie would have been Garfield and Stone adlibbing in the maintenance closet.

 

[JustinBB7]

There must have been an awful lot cut from Harrys story. We got nothing about oscorp having Peter under surveillance, Harry saying we could change the world, asking about Peter and nothing about "we have plans for you Peter Parker". Trailers made it seem as if the Gentleman was orchestrating it all, whereas the film makes it seem as Harry is the main force.

Yea I rewatched a few trailers and a lot of stuff was cut out. Wonder what the problem was.

Also read there were actually Mary Jane scenes that were cut. Good thing though, because that actress... was not a Mary Jane..

 

[Blader]

I agree it could have been resolved in the first film, but that's no guarantee that it would have led to this film having more character development. The scenes concerning his parents didn't take up much time at all. I think things would have played out roughly the way they did regardless. And why was it dumb? It was an unresolved thread for Peter who was looking for resolution and found it. I really don't see how it isn't completely harmless.

Well, that's the problem, isn't it? The movie is unaffected by the parents subplot and the story unfolds the same without it, so why have it there in the first place? That's where the "messy screenplay" criticisms come from -- subplots that are underwritten to the point of not being needed at all.

What kind of people invest themselves in to blockbusters?

Why watch a movie at all if you're not going to invest yourself in it?

 

[super-famicom]

Oh god. That sounds horrible.

It's actually quite entertaining.

 

[Mistel]

It's actually quite entertaining.

Because it is funny or just really bad?

 

[Jonogunn]

So I know Norman will be back (casting a good actor to play him and killing him off so fast is highly suspicious) but is there any articles confirming this?

Also is electro really dead? I assumed he'd be back since he's a member of the sinister six. If he's not back then damn that was a crappy use of him.

 

[Mario007]

Yea I rewatched a few trailers and a lot of stuff was cut out. Wonder what the problem was.

Also read there were actually Mary Jane scenes that were cut. Good thing though, because that actress... was not a Mary Jane..

Yeah Sony really needs to decide on the plot before releasing trailers for the Spiderman films

 

[NotLiquid]

i meant in general
he said anyone would of became Spider-Man if the spider bit them
which is complete bullshit
what if it bit Flash Thompson
New York would be fucked

It's not a matter of would, it's a matter of "could", which is the point of relating to Spidey as a hero and an icon of inspiration. Peter abused his powers when he first got them, and he got to learn the consequences of that the hard way. He chose to be a hero when he could have been a menace. The message is still there, anyone can be Spider-Man. His power was abused for selfish reasons and his father figure got killed because of it.

Incidentally if we're talking about the TASM movies here, Flash was a big fan of Spider-Man in those movies (a trait he inherits from the comics). And on the earlier line of discussion that brought up Film Crit Hulk's teardown of TASM2, he brought up an equally good point 2 years ago when the first TASM movie came out, which in that context painted Peter to be a bigger bully/asshole than Flash was.

 

[clemenx]

Just seen this. Fun couple of hours of course but ultimately forgettable which is the same opinion I had about the first ASM. There's just something these movies are failing at that are keeping them from being anything close to memorable.

Should've been just Electro and show Harry for the next movie it ended up with both guys being completely underused and underwhelming. I personally loved Electro but it was a bit dumb how overpowered he felt just to keep him in a prison a good part of the time. I don't think he's dead though.

Also surprised they killed Gwen just because the pull Emma Stone has. But I feel the movie failed at that moment it didn't feel dramatic at all.

 

[brandonh83]

Well, that's the problem, isn't it? The movie is unaffected by the parents subplot and the story unfolds the same without it, so why have it there in the first place? That's where the "messy screenplay" criticisms come from -- subplots that are underwritten to the point of not being needed at all.

That's not really what I meant. I'm saying that subplot, if excised, probably wouldn't have changed the amount of time or development that other things got, but obviously that's hard to know for sure.

 

[REV 09]

I really enjoyed this film...went in expecting it to be a mess based on some reviews and impressions, but it was generally as good as the others. I expected the three villains to be handled poorly, but the rhino wasn't really a main villain which helped.

 

[mrkgoo]

That's not really what I meant. I'm saying that subplot, if excised, probably wouldn't have changed the amount of time or development that other things got, but obviously that's hard to know for sure.

At first I didn't like how much they cut from the first movie regarding the parent storyline, which they seemed to have out into the second.

At first it seemed like sloppy - a way to resolve the plot from the first by slapping it into the second and calling it "development", because it kind of has no bearing on the second story. Or does it? There's is the whole DNA tie in, which is also a factor for the green goblin arc.

After some though and rewatching the first movie,I think I kind of like how there is a story that's "resolved" in the next. It kind of gives it an TV-style episodic feel, which is different for a super hero movie.

Typically these movies try to be self-contained because they are movies. It's obviously the better way to go - especially the way captain America handled its sequel (masterfully making its own story, while keeping enough continuity to make it a sequel without it being overbearing), but after some thought I found it kind of refreshing in Asm2.

 

[LosDaddie]

I forgot about the plane scene. So horrible

 

[brandonh83]

Typically these movies try to be self-contained because they are movies. It's obviously the better way to go - especially the way captain America handled its sequel (masterfully making its own story, while keeping enough continuity to make it a sequel without it being overbearing), but after some thought I found it kind of refreshing in Asm2.

I don't like it when things are too jumbled, but I thought the pacing and the way the subplots were handled in this film were just fine. I didn't think they conflicted or worked against each other. I thought the parents subplot had to do with just about everything else in the story, from OSCORP, to the spider venom, but it was mainly a personal journey for the main character which I feel makes it important enough all on its own. It was something for Peter to discover on his own.

It also served as a pretty impactful contrast to me considering that his temporary elation was turned upside down by the following events.

 

[The Outsider]

I could write a 20 page paper on what is wrong with this movie, as both a movie on it's own or as a Spider-man movie but I won't. My 6 year old loved it so that's all that matters I guess.

No worries, I got you covered:

The beginning of the summer blockbuster is in full swing with the release of The Amazing Spider-Man 2, a continuation of 2012’s The Amazing Spider-Man. The sequel again features Andrew Garfield as Peter Parker/Spider-Man and Emma Stone as – eh, who cares, anyone reading this probably knows this already. And if you don’t, make sure to check out The Amazing Spider-Man, a movie that takes nearly an hour to explain that a movie called The Amazing Spider-Man is about a guy who gets bit by a spider and gains superpowers. I’m glad that the filmmakers put such painstaking effort into explaining this concept, since it’s not like there was a movie called Spider-Man that covered the exact same thing. My point is that The Amazing Spider-Man is an unbelievably boring movie; an unnecessary retread hampered by a soporific script. It makes sense that Sony would opt to go in a different direction for the sequel by introducing some fresh elements to craft a more compelling story. The end result is The Amazing Spider-Man 2, where marketing informs us that Spider-Man’s “greatest battle begins”. That sounds intriguing, but there’s just one problem – The Amazing Spider-Man 2 sucks.

No, The Amazing Spider-Man 2 isn’t boring like its predecessor was. Sony has instead delivered one of the most insultingly stupid movies I’ve ever had the misfortune of watching. If it weren’t for the existence of Transformers: Revenge of the Fallen, this honestly might be the dumbest movie ever made. And while bad movies get made all the time, it takes a special kind of awful to elicit the type of reaction I had toward this movie. Very little in this movie makes any sort of sense. The plot is incoherent, a string of sequences that don’t flow in any meaningful way, weighed down by inane dialogue and poor characterization. The tone of the film radically shifts from sequence to sequence, creating an uneven experience that feels like material from four different films were shoved into one. And at a whopping 2 hours and 22 minutes, The Amazing Spider-Man 2 is hindered by horrible pacing, a byproduct of a bloated and poorly edited film.

So just how did it come to this? The Amazing Spider-Man 2 boasts a tremendously talented cast to work with, the rich comic book history of the Spider-Man character to cull from, and some stunning visual effects work to dazzle. In order for a movie to succeed, it needs substance to accompany the flash. This is the ultimate failing of The Amazing Spider-Man 2. It features a terrible script that no amount of exceptional acting or splendid effects can possibly save. But enough talk about how bad this movie is; let’s examine exactly what makes The Amazing Spider-Man 2 a catastrophic failure by exploring the absurdity that pervades nearly every single scene in the film.

The film begins with Spider-Man swinging around chasing some criminals – wait, hold on, no, it doesn’t. Instead, we’re treated to an overlong prologue sequence that explores what really happened to Peter Parker’s birth parents. From the get go, we’re already knee deep into a subplot that deals with the origins of Peter Parker, something that was covered extensively in the boring first movie. Seriously, how difficult is it to just open a Spider-Man movie in medias res? Sony has had five attempts to open a Spider-Man film with an action sequence featuring Spider-Man, and has failed to do so five consecutive times. They did get it half right this time around, as we are indeed treated to an action sequence to open the film, albeit one featuring a minor character whose plotline was unceremoniously dropped halfway through the last film. The sequence bizarrely attempts to evoke the spy thriller genre, even though the scene is literally about a guy attempting to upload data to his Sony Vaio. Sony products sure are great, aren’t they?

About ten minutes in, we finally see Spider-Man in action, allowing the audience to collectively exhale, realizing they did in fact walk into the auditorium showing The Amazing Spider-Man 2, and not one showing the newest Bourne movie. This sequence of Spider-Man slinging his webs throughout the city is genuinely exhilarating. If there’s any compliment I can give to this movie, it’s that it absolutely nails the movements of Spider-Man in ways that no preceding Spider-Man movie has ever done. All good things must come to an end, however, as Paul Giamatti enters the picture, spewing some inaudible dialogue in a comically bad Russian accent. Giamatti is a genuinely great actor, but he gives what is likely the worst performance in his career here. His performance is so over the top that the movie has already experienced a disconcerting shift in tone from serious to campy less than fifteen minutes in. This scene also introduces Jamie Foxx’s Max Dillon, a bumbling, stereotypical nerd, complete with a gap tooth and a bad comb over who gets saved by Spider-Man. Despite the missteps with Giamatti and Foxx, the action sequence as a whole captures the heroic nature and wisecracking tongue of the Webbed Wallcrawler quite well, and it’s baffling that this wasn’t the first scene in the movie.

While the action scene unfurls, we shift to high school graduation, where we are reintroduced to Gwen Stacy, portrayed by the seriously perfect Emma Stone. Gwen delivers a speech to her fellow graduate that includes the inspiring quote: “What makes life valuable is that it doesn’t last forever; what makes it precious is that it ends.” It’s at this point in the movie that I come to the sinking realization that the writers have absolutely no idea what they’re doing. The character of Gwen Stacy is arguably most famous for her shocking death in the comic books, which this speech seems to foreshadow. The concept of foreshadowing can be incredibly effective when handled well, but it inherently relies on subtlety, which is impossible to achieve when the writing is so clumsily handled as to literally tell you how the movie will play out. We’re not even 20 minutes into the damn movie, and we already know Gwen Stacy is going to die. Remember in Star Trek Into Darkness, when Bones spouts some asinine line about testing the regenerative powers of Khan’s blood on a tribble? Gee, I wonder if that’s going to be an important plot point! (It was.) It’s the same principle here; when you give a character forced dialogue about something entirely irrelevant, it comes across as just a little suspicious.

But just in case Gwen’s speech wasn’t proof enough that she is a goner, Peter arrives at graduation and sees Gwen’s family, complete with the ghost of Denis Leary standing hilariously behind them all. Denis Leary’s ghost is a recurring visual motif in the movie and is so unbelievably out of place that I couldn’t help but die of laughter any time it happened. You might recall that Leary portrayed Gwen’s father, Captain Stacy, in the first movie, where he was eventually killed by a giant lizard man. Before his death, Denis Leary made Peter promise to stay away from Gwen in order to keep her safe; a promise Peter so graciously kept for five minutes of screen time before spitting on Denis Leary’s grave and reneging on his promise to stay away from Gwen. The way Denis Leary’s ghost is edited into the film suggests that Peter is now having second thoughts about pursuing a relationship with Gwen because he promised to do exactly the opposite. This new plot development of Peter feeling guilty about ignoring his promise should theoretically make sense, but it stands completely contrary to the characterization of Peter Parker in the first movie, where he transitions from being an unlikeable asshole at the beginning to becoming an even more unlikeable asshole by explicitly breaking a dying man’s last wishes. Why does this character suddenly feel guilty about being an asshole? Did the writers even watch the first movie?

Everything’s okay though, because the writers aren’t actually attempting to give Peter any sort of real development here. Denis Leary’s ghost is actually just a plot device to make Peter and Gwen break up, because everyone knows we didn’t get enough romantic drama in Sam Raimi’s Spider-Man trilogy. While Gwen and Peter’s scenes have dramatically improved from the first movie where they spent various scenes mumbling like idiots, they’re still brought down by awful dialogue. Gwen literally tells Peter “I break up with you.” No one speaks like that. The only thing holding any of these scenes between Gwen and Peter together is the combined talent of Emma Stone and Andrew Garfield, who share a natural chemistry, which makes sense given they’re having sex in real life. Damn you, Garfield. At this point in the film, we’ve gone from serious to campy to mushy. Every scene in this movie to this point has felt like it came from a different movie. We’re literally just advancing from scene to scene at this point with no natural progression from the scene before.

My brain is slowly starting to melt when Spider-Man reappears in a montage, doing heroic deeds. There’s a scene here where Spider-Man tells off some bullies and walks the victim home. This tiny sequence captures the essence of Spider-Man more perfectly than anything in the entirety of both Amazing Spider-Man movies. But instead of having scenes like this for the rest of the movie, we shift back to the type of garbage that preceded it by returning to the previously introduced Max Dillon. Max has a pretend conversation with Spider-Man in the mirror and tells him it’s his birthday. I wasn’t sure at the time whether this scene was intended to be comedic or not, and I still have absolutely no idea. I would guess this scene was written to characterize Dillon as someone clearly insane, but the way it is filmed obscures by this intent by giving the scene an overly campy tone.

After a couple poor attempts at humor, one involving Peter coming face to face with the formidable Laundry Sheriff, The Amazing Spider-Man 2 introduces another new character into the fold - Harry Osborn, played by Dane DeHaan. Harry has a bedside conversation with his dying father, Norman, where he learns that the fatal condition his father has suffered from for the past twenty years is genetic. This guy is such an asshole that he has never once mentioned to his son that he was born with a genetic disease that will kill him at an early age. Maybe they cast Academy Award winning actor Chris Cooper in the role to really sell the villainous nature of Norman Osborn, who many people might recognize as the first Green Goblin from the comics. Oh, I guess not, because we’re told Norman is dead in the very next scene. Did they really just cast Chris Cooper for a thirty second role to deliver some exposition about Harry dying?

Sometime later, Peter visits his best friend Harry after hearing of Norman’s passing. We know that Peter and Harry are best friends because the movie tells us this, even though it also tells us that they haven’t seen each other in ten years, which would make them around eight years old the last time they were in contact each other. Huh? Elsewhere, Max Dillon goes to Oscorp to fix something, where in an unfortunate accident, he gets electrocuted and falls into a tank of electric eels. Honestly, I’m not really going to complain about the origin of Electro here, because most comic book characters tend to have these types of outlandish scenarios that allow them to gain superpowers. Even Spider-Man himself is no exception to this.

The Amazing Spider-Man 2 soon shifts back to its fifteenth subplot involving the woefully complicated relationship of Peter Parker and Gwen Stacy. Some more awful dialogue ensues after a cringe-inducing scene where Peter slowly walks through traffic to meet Gwen. I think this is the part where they try to reconcile their relationship, but at this point in the movie, I’m honestly more fascinated by the specks on the ceiling tiles in the auditorium than whatever drivel is spewing from the mouths of these characters. At some point during this scene, Peter’s realizes something is amiss and he abruptly leaves to be part of the next scene as Spider-Man, because the plot demanded this happen.
Spider-Man swings into Times Square, where Max Dillon, fresh off his accident at Oscorp, is wreaking havoc as the newest member of the Blue Man Group. Spider-Man attempts to talk Max down, but fails to do so because the writers remembered that this film is supposed to have a villain. Apparently, Max now hates Spider-Man because he didn’t remember his name, even though he remembered everything else that happened in the one scene they shared earlier in the film. But just in case this motivation wasn’t stupid enough on its own, the score playing during this scene contains lyrics that describe Max’s inner conflict: “He lied to me. He shot at me. He hates on me. He’s using me. He’s dead to me. That Spider-Man. He is my enemy.” I wish I was making this up, but these lyrics are all actually audible during the movie itself. And just in case that wasn’t stupid enough, when Max finally decides to retaliate against Spider-Man, the use of his newfound electricity-based powers is accompanied by – of all things, dubstep. But we’re not done yet. With one single line of dialogue, The Amazing Spider-Man 2 officially transitions from being plain bad to irredeemable. Max turns to Spider-Man and tells him, “It’s my birthday – time for me to light my candles.”

Maybe this is where The Amazing Spider-Man 2 hits rock bottom; after all, could it really get any worse? Amazingly enough, the very next scene in the film answers this question with a resounding yes. Peter lies down and listens to some Phillip Phillips before deciding on a whim to look into the mysterious disappearance of his parents. Again, there’s just no connective tissue between anything that happens in this movie; there is absolutely nothing within Peter’s story in this film that would inspire him to look into his parents’ past. Going off the current track record of the writers, I’m guessing that Peter’s parents will be used as yet another lazy plot device to advance the story. Maybe that’s why the film opened with that nonsensical prologue? Or maybe the writers are just completely clueless and were mistakenly under the impression that the audience would care about this completely unnecessary subplot?

Speaking of subplots, we still have to deal with that one where Harry is dying. The genetic condition is now showing its symptoms and even though his father lived to be at least 40 before dying, Harry needs a cure right goddamn now. To this end, Harry consults his best friend Peter to help him get some of Spider-Man’s blood, which could cure Harry’s genetic disease because reasons. Peter is leery of these reasons and outright refuses to help, effectively condemning his best friend to death for no reason.

The Amazing Spider-Man 2 meanders for a while longer, with an overlong chase scene involving Gwen Stacy at Oscorp, which ultimately acts as yet another lazy plot device for Harry and Gwen to be in the same scene together. We also have some scenes involving Peter’s Aunt May, where she reveals that she is struggling to make ends meet without the financial assistance of her late husband. At the time I watched the movie, I couldn’t remember why this subplot felt so redundant, but it later dawned upon me that this is exactly what happened in that other Spider-Man 2. The problem is that while Aunt May’s struggles in that film closely correlated with Peter’s struggles, there is no such parallel in this film. This subplot is instead just wasted time that is entirely irrelevant to the rest of the movie.

The stage shifts to Ravencroft Institute, where after his defeat at the hands of Spider-Man, Max is secretly being experimented upon by the worst character in the entire movie, an Oscorp scientist named Dr. Kafka. Marton Csokas takes a page out of the Paul Giamatti playbook by affecting an unconvincing accent and acting as ridiculously over the top as humanly possible – wait, is this guy wearing lipstick? I think this is the scene where Max rechristens himself as Electro, but I can’t be positive because I’m still trying to figure out why this Dr. Kafka character is wearing lipstick. If anyone knows why this is the case, please let me know, because I find this mystery far more intriguing than anything else that has happened in this insipid film.

Spider-Man pays a visit to the still dying Harry, who is thankfully not wearing any distracting lipstick. Maybe Peter has had a change of heart and is now willing to help out his best friend Harry? In actuality, Spider-Man has come to visit Harry to tell him that he won’t give him his blood because it “isn’t compatible.” First of all, Peter already told Harry that his answer was no, so is he just here as Spider-Man to be a complete asshole and rub salt in the wound? Second of all, how does Spider-Man magically know that his blood isn’t compatible? Did he run some tests on it to see what would happen if his blood was transfused to a normal human being? Did he read the end of the script where it says Harry becomes the Green Goblin, meaning he needs to provide Harry with a motivation to hate Spider-Man? Oh, it’s the last one? Go figure. Harry laughably proclaims, “You’re a fraud, Spider-Man!” and flips a table for good measure. Because this is how villains are born.

Peter and Gwen interact some more and while it’s increasingly apparent they still like each other, the movie delivers more artificial drama instead of reconciliation. Gwen’s going to move to England because they’re on “different paths”. This ‘will they/won’t they?’ has become so tired and stale by this point that I’m just ready for Gwen to reach her inevitable death so that I don’t have to put up with any more of this tripe. Peter, now downtrodden because the love of his life is moving away, throws his father’s calculator against the wall, which causes some coins to fall out that conveniently tie into the mysterious background of his parents. Instead of crafting some logical way for Peter to unravel this mystery, the writers rely upon an incredibly farfetched plot contrivance so that we can get to the next scene in the movie. There’s a scene in Star Trek where Kirk is jettisoned off the USS Enterprise onto a nearby planet, where he meets a time traveling Spock who uses beam technology to get him back on the Enterprise. Doesn’t it seem a little too convenient that Kirk ends up on the one planet in the entire universe where he is able to meet someone who provides him with a plot device to advance the story?

Coincidences happen. This is not that; this is lazy plotting, and is only further compounded when Peter follows the breadcrumbs left by these coins stashed in the calculator to his father’s old laboratory in an abandoned rail station. Here, in video form, Peter’s father delivers some old fashioned exposition about his life research, which basically reveals that Spider-Man’s abilities were unlocked because they were only compatible with the Parker bloodline. This technically means Peter was conveniently correct about his blood not being compatible with Harry, which means this was likely actually the part of the script he had read before that earlier scene with Harry.
Harry, meanwhile, is still searching for a cure to his genetic disease, when in a most fortunate turn of events, Harry’s assistant soon informs him that she conveniently overheard that Oscorp is housing venom from radioactive spiders somewhere off books in a place called, wait for it, “Special Projects.” This is effectively the equivalent of keeping your internet pornography collection in a folder called “Adult Films”. Nonetheless, Harry’s plan to acquire the spider venom is foiled when he is forcibly removed from Oscorp.

This prompts him to turn to Electro for help, because he’s the other villain in the movie and they have to team up for some reason. Harry effortlessly dispatches some highly trained security guards and becomes best friends with Electro, who has now inexplicably rematerialized into Dr. Manhattan and can now become pure electricity. At least Electro wears his underwear in this movie. Electro escapes with Harry and fries the lipstick-wearing Dr. Kafka on his way out to the tune of some more dubstep. It’s worth pointing out that anytime Electro uses his powers, the same dubstep cue blares from the speakers. This is something else completely out of place that again elicits uproarious laughter every single time it played.

With Electro’s help, Harry makes his way back to Oscorp. Small aside: Electro somehow managed to acquire a new costume on his way to Oscorp, complete with cute little lightning bolt designs on the arms. Electro parts ways from Harry, leaving the scene via power outlet and dubstep. Harry makes his way to “Secret Projects”, where he finds the venom produced by Araneus oscorpeus. Yes, the spiders are really given that nomenclature. Harry gets injected with the venom, which predictably doesn’t work and grotesquely morphs him into a meth addict. Or maybe it turned him into Billy Idol. I’m not really sure. He crawls for a bit and ends up at some sort of green battle suit attached to a glider. Oh, I get it, he’s the Green Goblin! Sorry Gwen, you’re totally dying at the end of this movie.

Somewhere across the city, Peter and Gwen finally reconcile their differences and agree to move to London together. Peter makes some unbelievably stupid remarks about fighting crime as Spider-Man in England, which we know is never going to happen because Gwen will be too dead for them to move away together. Meanwhile, Electro causes a massive blackout across New York City in an attempt to draw his mortal enemy Spider-Man to the power plant that houses the emergency reset system. Apparently this one power plant controls the reset for all of the electricity in New York City, which really just seems like a particularly short-sighted decision on the part of the city. I’m pretty confident that the only reason Electro still hates Spider-Man for is because he forgot his name, but Electro’s the villain now, so the plot demands he do villainous things.
Peter suits up as Spider-Man and leaves Gwen behind to keep her out of harm’s way. Spider-Man enters the fray and confronts Electro at the power plant, where they have a battle filled with neat special effects. At some point during the fight, Electro remembers he has the ability to become pure electricity and proceeds to lay waste to Spider-Man. This scene actually manages to be pretty entertaining until Electro decides to perform a dubstep version of ‘Itsy Bitsy Spider’ while combatting Spider-Man. This isn’t even part of the score in the scene; it literally happens in the film, prompting Spider-Man to quip about how he hates this song. It’s almost as if this movie was intentionally sabotaged by its creators, because anything that had the potential to be truly great is overshadowed by something idiotic.

 

[The Outsider]

Continued!

To further contribute to this idiocy, the writers felt it necessary to add not one, but two wholly useless subplots to the third act of the film. The biggest offender involves several scenes where air traffic controllers are unable to communicate with any aircraft currently in the air due to the blackout Electro caused. This becomes a major conflict because two airplanes are on a collision course with each other unless the power gets restored in time for the air traffic controllers to alert the airplanes to divert their paths! Why should I possibly care about anything that happens in these sequences? Every single character involved in these sequences is introduced when the conflict begins. The air traffic controllers are nameless, the pilots are nameless, and the passengers are nameless. You can only build real tension in movies when the audience is emotionally invested in what’s unfolding on the screen before them. Spider-Man is fighting Electro while this entire chain of events is happening, and moreover, Spider-Man has absolutely no idea that any of these events are even taking place. If Spider-Man knew he was racing against the clock to save all of these innocent lives, maybe we’d be even more invested in Spider-Man’s struggle against Electro. Instead, the entire subplot is completely irrelevant and is never mentioned in the movie after its conclusion. The second useless subplot involves Aunt May volunteering as a nurse in a hospital when the lights go out, which is later resolved when the lights come back on. These scenes don’t illuminate Aunt May’s character any more than we already know and again are wasted time with absolutely no bearing on the plot.

Electro and Spider-Man continue their duel at the power plant for a time before Gwen arrives on the scene and plows into Electro with a car. Yes, Electro, a being capable of becoming pure electricity, curiously resumes his physical form and gets hit by a car. Peter scolds Gwen for actively putting herself in peril, but she rebuts by telling Peter, “This is my choice.” Peter yields, and works with Gwen to activate the emergency reset so that they can channel the power into Electro and overload him with too much electricity. There is no in-universe explanation for why this would plausibly work other than convenient plot reasons, so I’m going to hazard a guess that Peter had already read this part in the script too. It’s also fortunate that Gwen Stacy, herself a recent high school graduate, is an expert on everything and knows exactly how to operate this emergency reset system. I guess she read the script too. Their plan works exactly as expected and Electro is vanquished.

But the movie’s not over yet, because Gwen still has to die, remember? Cue Green Goblin flying in from off screen. What was Green Goblin doing this entire time? Was he flying alongside those airplanes that were about to crash? Was he watching the fight between Spider-Man and Electro? Green Goblin obviously knows about this entire plan, because he’s the one who set it in motion by freeing Electro in the first place. Why didn’t he just fight together with Electro? Anyway, Green Goblin swoops down and – hey, that’s not Green Goblin. Why does Harry still look like Billy Idol? I thought the spider venom was mutating him into something that might actually resemble the Green Goblin from the comics, but instead we get this Meth Goblin abomination. Harry sees Gwen standing with Spider-Man and realizes that Peter Parker and Spider-Man are in fact one and the same. Meth Goblin basically tells Peter then and there that he is going to kill Gwen Stacy. This is it, folks.

Harry grabs Gwen while cackling something about it being a nice day for a white wedding and Spider-Man gives chase. Harry drops Gwen through the roof of a clock tower, where Spider-Man saves her. He then throws a pumpkin bomb immediately next to both Gwen and Peter’s faces, where it promptly explodes but has no effect whatsoever on either of them, despite completely obliterating the structure they were both previously on. Spider-Man and Meth Goblin have a brief fight sequence that is shot extremely well and is probably my favorite part of the entire movie. The sequence ends with a slow motion sequence of Gwen falling and Spider-Man shooting a web to save her. Only the web doesn’t reach her in time, and Gwen Stacy dies. I actually thought the death scene was filmed well overall, marred only by the curious decision to visually interpret Spider-Man’s web as an outstretched hand and the ambiguity in what actually causes her death.
Peter understandably has a tough time with his loss, as we see him by Gwen’s gravestone through various seasons. But The Amazing Spider-Man 2 has no intention of letting the material contained within the movie breathe, as merely minutes after Gwen’s death, the film shifts gears entirely and shows Harry setting up the super villain group known as the Sinister Six using some “Special Projects” courtesy of Oscorp. Side note: What does Oscorp even do in this universe? Are they a super villain factory? Anyway, one of these “Special Projects” is a mechanized rhino suit, which is inexplicably given to Paul Giamatti’s character from earlier in the film, so that he can ruin this movie even further by moronically yelling “I am the Rhino!” Finally, in one last insult delivered by everyone involved in the creation of this misguided trainwreck, the film cuts to black as Spider-Man begins to fight the Rhino.

The credits start rolling and I’m left completely apathetic to this garbled mess I just watched. Did all the stupidity in The Amazing Spider-Man 2 just give me brain damage? After a couple minutes, my brain functions return and all sorts of emotions flood in: anger, sadness, confusion, disappointment. It’s time for me to grab my pitchfork and storm Sony Pictures demanding to know who is responsible for this dreck. Is it the fault of the director, Marc Webb? I’m sure on some level he’s culpable for this movie, but I don’t think there’s a director in the world that could have produced a watchable product using the vacuous script that was written. So who is responsible for that? Oh, screenplay by Roberto Orci and Alex Kurtzman. Hey, aren’t these the same assholes that wrote Transformers: Revenge of the Fallen, Star Trek, and Star Trek Into Darkness? I don’t think it’s any coincidence that every single one of these movies features some combination of stupidity, undeserved plot contrivances, and lazy plot devices.
But I didn’t write this to tell you that Roberto Orci and Alex Kurtzman suck at their job, even though it’s quite evident they do. I wanted to break down The Amazing Spider-Man 2 into its components to provide an overall baseline of where everything went wrong. Yes, baseline, because this movie has problems that somehow extend even deeper. It should be abundantly clear by now that The Amazing Spider-Man 2 falters so greatly because the writers had no idea what to do with the Spider-Man property and crammed some unrelated sequences involving these characters into a single script so that they could collect their paycheck.

It reminds me of doing a group project in college course that you’re only taking because it’s required for your major. Your professor assigns you to work with three other people who you’ve never met to work on a project that no one wants to do. What happens is you end up splitting the project four ways so that everyone does their individual part before haphazardly putting it all together and calling it a final project. How you can possibly have any sort of cohesion when there is no effort made to collaborate in any meaningful way? To bring this back to The Amazing Spider-Man 2, the four parts of the group project are something akin to: (1) Spider-Man doing heroic deeds (featuring a fun, adventurous tone), (2) Peter and Gwen’s romance (featuring an overly mushy, romantic tone), (3) The origins of Electro and Green Goblin (featuring a campy, silly tone), and (4) The mystery of Peter’s parents (featuring a serious, dramatic tone). These elements are individually mishandled and the negative effects of each part are further exacerbated when they’re clumsily thrown together with no attention to resolving any differences in tone between the different parts. The end result is a sloppy mess with no singular identity of its own.

The failings of the plot have disastrous consequences beyond the wildly inconsistent tone; they lead to inexcusable characterization for its titular character. Take a second, and identify for yourself the character arc that The Amazing Spider-Man 2 takes Peter Parker through. The reason you’re struggling is because Peter does not actually experience any sort of character development throughout the entirety of the movie. This was an issue that plagued this film’s predecessor and was one I hoped would be rectified within the sequel. In the comic book Amazing Fantasy #15, Spider-Man makes his character debut. By the end of the issue, he learns a valuable lesson that defines the essence of the Spider-Man character: “…in this world, with great power there must also come – great responsibility!” In Sam Raimi’s Spider-Man 2, Peter Parker imagines a conversation with his deceased Uncle Ben, who literally tells him this exact quote. Peter instead decides to be Spider-Man no more, but by the end of the film, realizes that he does have a responsibility to use his powers for the greater good, and dons the costume to save the city from great peril. This is what a character arc does; it shows natural growth in a character and provides a lesson that makes this character a better person.

There is no such development given to Peter’s character in The Amazing Spider-Man 2, even though the film contains a major plot point that should serve this exact purpose. That plot point is the death of Gwen Stacy, which takes inspiration from the The Amazing Spider-Man comic book, particularly issues #121-122, which contain the story arc called “The Night Gwen Stacy Died.” This story arc is especially powerful because not only does it unexpectedly kill off a beloved character; it has haunting thematic repercussions for Peter as a character. During these issues, the Green Goblin kidnaps an unconscious Gwen Stacy and drops her off a bridge, prompting Spider-Man to shoot a web at her. His web catches Gwen by her legs, but violently halts her fall, causing a whiplash effect that snaps her neck. Peter, unaware that Gwen has died, celebrates how great his spider powers are as he pulls Gwen up to him, where he finally realizes to his horror that Gwen has died of his own doing. Not only does Peter lose the love of his life, he is directly responsible for it.

Thematically, this paints Peter as a particularly troubled character filled with guilt, which makes him a very relatable and realistic character. The Amazing Spider-Man 2 does no such thing with the character of Peter Parker; the net result of the movie is that Peter Parker no longer has a girlfriend. And while I’d be pretty sad if I lost Emma Stone too, the movie manages to botch the death of Gwen Stacy in such a manner that it undermines the type of character development that Peter experiences in the comic books. It accomplishes this by absolving Peter of any responsibility related to Gwen’s death. Instead of being unwittingly present like she was in the comics, Gwen not only ignores Peter’s warning that it’s too dangerous for her to help Spider-Man, she actively breaks out of physical restraints Spider-Man has placed upon her. When she arrives on the scene to help Spider-Man, he again tells her she shouldn’t be here and she emphatically tells him that it’s her choice to be there.

By making her a willing participant in the action, she sets herself up for her inevitable demise, instead of being an innocent bystander like she was in the comics. And just in case this baffling change wasn’t enough to absolve Peter of any potential guilt he might feel when Gwen dies, it’s not even clear if he was directly responsible for her death. Spider-Man’s webbing does catch her in the torso, but it definitely looks like her head hits the ground first, a notion supported by an audible thud. There is no whiplash effect that would suggest Spider-Man is culpable for her death. I have absolutely no idea why any of these changes were made with Gwen’s death, as they undermine how and why it should have happened in the first place by missing the point entirely.

The Amazing Spider-Man 2 is not the worst movie I’ve ever seen, even if the length of this might suggest otherwise. The real reason I’m writing this is because The Amazing Spider-Man 2 is disappointing on so many levels. It’s a terrible film on its own merits, but it’s doubly depressing when there is so much wasted potential. The source material is just sitting there, waiting to be mined. As a huge comic book fan, I want to see these stories brought to life in the best manner possible. It’s truly a shame that Sony has assembled such a talented cast and wastes them on what is likely one of the most vapid scripts ever written. No amount of acting, editing, or directing could possibly fix the stupidity contained in this script. The plot is incoherent, the tone is inconsistent, the pacing is dreadful, and the characterization is absent. Spider-Man deserves so much more than the shameful treatment he’s given in The Amazing Spider-Man 2.

 

[brandonh83]

Yep, scanning the review, it hits all the notes I expected. Now we just need a three hour Plinkett review to reiterate all of it.

Also not sure why everything has to be verbatim with the comic. I'm seeing paragraphs here dedicated to how it's "baffling" that they changed the premise of her death. If Peter would have just let her go to England without stalling traffic she wouldn't have died.

 

[mrkgoo]

Continued!

Sounds like he had in his head what a spider-man movie is "supposed" to be and it wasn't that so it's bad.

 

[mrkgoo]

Yep, scanning the review, it hits all the notes I expected. Now we just need a three hour Plinkett review to reiterate all of it.

Also not sure why everything has to be verbatim with the comic. I'm seeing paragraphs here dedicated to how it's "baffling" that they changed the premise of her death. If Peter would have just let her go to England without stalling traffic she wouldn't have died.

I thought the death was handled marvellously. Aside from the good acting which sold it, there was an ambiguity to whether she was hurt or not - as is typical for most of these kinds of films, they make it ambiguous and then with a few tears and a deep breath, she wakes up.

But not here. A dribble of blood from the nose seals the deal. I heard audible gasps in the audience.

 

[Blader]

I forgot about the plane scene. So horrible

I actually like how the plane sequence -- and really that whole prologue -- plays out; it's one of the better directed parts of the film, imo. My issue with it, and the whole subplot, is that it's a completely unnecessary sidebar.

Looking at both films, it's extremely clear that Webb and co. opted for the parents angle in order to better differentiate themselves from Raimi's trilogy and justify rebooting so suddenly after SM3. But they either didn't think it through or just realized that they weren't sure what to do with it at all, because the whole thing is tangential to the movies. It fills out some of the background, but that's not really important to the plot.

They actually could have gone a long way in justifying the parents subplot by simply having Peter discover the truth about the spider-venom *before* he tells Harry he can't have his blood, rather than after. But with those scenes reversed, Peter's decision is only validated after the fact, so it has no bearing on what happened.

There's a cool story about the sins of fathers passed onto sons buried somewhere in these movies, but I think they've really failed to capitalize on that in a lot of ways.

 

[Toa TAK]

I feel like some people rooted for Electro in that last fight, lol.

I know I did.

 

[Mistel]

I know I did.

Would of made it interesting if he actually won it.

Mata Nui?

 

[Sub_Level]

Went into the movie expecting to dislike it, came out pretty satisfied though. I liked the romance and some of the fights were cool. Nice soundtrack too, especially that part where Peter discovers the secret car in Roosevelt Station.

 

[googleplex]

Considering that the only qualitative thing you've actually stated about the movie is how wow amazing the IMAX 3D 3D was in 3D, I think you and the people "hating" on this movie go to the movies for different reasons. People may not realize that they like coherency and clear motivations and actual character arcs and emotional payoffs, but their brains do. Tends to make a movie endearing when the characters don't just spin their wheels before arriving at an obligatory event from the source material, which has no actual meaning in the adaptation.

I saw the Movie in boring old 2D and thought it was awesome. One of the best Superhero movies to date.

 

[peanutbutterlatte]

Were they honestly not building up to Eddie Brock Sr. as Venom causing the plane crash?

 

[mrkgoo]

I actually like how the plane sequence -- and really that whole prologue -- plays out; it's one of the better directed parts of the film, imo. My issue with it, and the whole subplot, is that it's a completely unnecessary sidebar.

Looking at both films, it's extremely clear that Webb and co. opted for the parents angle in order to better differentiate themselves from Raimi's trilogy and justify rebooting so suddenly after SM3. But they either didn't think it through or just realized that they weren't sure what to do with it at all, because the whole thing is tangential to the movies. It fills out some of the background, but that's not really important to the plot.

They actually could have gone a long way in justifying the parents subplot by simply having Peter discover the truth about the spider-venom *before* he tells Harry he can't have his blood, rather than after. But with those scenes reversed, Peter's decision is only validated after the fact, so it has no bearing on what happened.

There's a cool story about the sins of fathers passed onto sons buried somewhere in these movies, but I think they've really failed to capitalize on that in a lot of ways.

Some great points there.

 

[phyrlord]

I just saw Spidey 2 last night, I really enjoyed the movie. Was it just me or was the sound design amazing? Noticeably top notch.

 

[Toa TAK]

For a second, I thought you guys were talking about the plane scene at the end of the film. Talk about unnecessary.

Would of made it interesting if he actually won it.

Mata Nui?

The one and only.

 

[GuitarAtomik]

Saw it this weekend and I actually really enjoyed it. Saw it with the GF and her mother (who hadn't seen the first) and they both really enjoyed it as well. It definitely was flawed in some aspects. A lot of the what seemed like ad-libbing scenes were either too long or just that there were too many, and though I thought they did a decent job with Harry as a character, his rush in to and 5 minutes as the Goblin seemed tacked on. Either they should have introduced him in the first movie and have him turn in this one, saved the turn for the next movie, or focused less on Electro (who I thought they did a pretty good job with here). By the time he showed up to fight, I was kind of like "I don't really care anymore" and the short battle wasn't anything to write home about until they're all tangled in the gears and I knew what was about to come.

But man, I have to give it to them for that death scene. Love the way that whole scene was directed, the desperateness of it, the brutality of her snapping, and the fact that it just ends in an instant without the usual cliche Hollywood final words speech. The way they handled him at the grave was tonally great as well and even though I REALLY didn't like any of the Rhino stuff (Giamatti's campiness and accent had me flashing back to the worst parts of Raimi's campy stuff), it felt great when Spider-Man returns at the end.

So yeah. As someone who probably liked ASM more than the average person on this board, yet still only though it was just "Ok", I had a lot of fun with it. Even a lot of stuff I was sure was going to be dumb (like those leaked photos of Spidey in the firefighter gear) actually worked for me. Personally, I'd probably rate this as my favorite Spider-Man movie. Some people might find that crazy, but I've always had somewhat of a problem with Raimi's handling of the original trilogy and don't hold the first two movies in as high regard as most so that's where I'm coming from.

 

[Atkison04]

Considering that the only qualitative thing you've actually stated about the movie is how wow amazing the IMAX 3D 3D was in 3D, I think you and the people "hating" on this movie go to the movies for different reasons. People may not realize that they like coherency and clear motivations and actual character arcs and emotional payoffs, but their brains do. Tends to make a movie endearing when the characters don't just spin their wheels before arriving at an obligatory event from the source material, which has no actual meaning in the adaptation.

True enough. I enjoyed it for the experience of it all. Saw it for the second time over the weekend, and although I still like it a lot, it definitely could be an overall tighter movie. Captain America 2 is the better story and movie, imo, but spiderman is the better movie experience to me anyways.

 

[Spinluck]

I actually like how the plane sequence -- and really that whole prologue -- plays out; it's one of the better directed parts of the film, imo. My issue with it, and the whole subplot, is that it's a completely unnecessary sidebar.

Looking at both films, it's extremely clear that Webb and co. opted for the parents angle in order to better differentiate themselves from Raimi's trilogy and justify rebooting so suddenly after SM3. But they either didn't think it through or just realized that they weren't sure what to do with it at all, because the whole thing is tangential to the movies. It fills out some of the background, but that's not really important to the plot.

They actually could have gone a long way in justifying the parents subplot by simply having Peter discover the truth about the spider-venom *before* he tells Harry he can't have his blood, rather than after. But with those scenes reversed, Peter's decision is only validated after the fact, so it has no bearing on what happened.

There's a cool story about the sins of fathers passed onto sons buried somewhere in these movies, but I think they've really failed to capitalize on that in a lot of ways.

I would've liked if TASM opened with the plane scene in this film. I actually would've liked if everything having to do with his parents was condensed to the first film. Hell, I would've dealt with flashback scenes if that's what it took. With nearly 5hrs of storytelling, this Peter should have progressed further as a character than he has. Gwen's death will definitely set up some interesting arcs for Peter that we haven't seen on screen before, but I don't have much confidence in them to pull it. I hate comparing them to the Raimi films because other superhero movies usually aren't, but I left each of those feeling that they had a different message on heroism, responsibility, and sacrifice. Not asking for that here, just some focus.

This film should have focused on Peter knowing his blood is a hot commodity, all of his fathers secrets, his relationship with Gwen, Harry coming back, and his duty as Spider-Man. Instead of trying to fit the parents in there and some world building stuffs (Felicia was probably the least offensive). Simplify that shit. The argument can be made that the Richard Parker arc isn't on screen much, but it dictates Peter's mood for a good amount of the film. There is that scene after the Time Square fight where Peter is laying on his bed, and suddenly decides he's gonna uncover the secrets to his fathers past. Now, do people sometimes get sudden urges to do things? Sure, it's just here it seemed like the writers were just finding a way to incorporate it into the story because THEY HAD TO. It was like they literally said, "ok, time for him to do this!"

I don't mind movies taking an episodic approach, there is nothing wrong with it when it's executed well -- like many things when well executed. It's just here it feels like no real effort was put in, especially as someone who gave them the benefit of the doubt on the first film. I feel like they're doing certain things that hurt these movies as standalone films. One key difference between this and the Raimi films (to my knowledge) is that Raimi and Sony were unsure if they were going to get sequels to his films. So the main focus was just making solid movies that can stand on their own and end with a resolution that felt complete, all while sprinkling in arcs that can extend into following films. Here it feels like, "lol, don't worry about that, we have 2 and a half hours to touch on it in the next film." I get trying to separate yourself from the previous trilogy, but it shouldn't come at the detriment of the storytelling.

I just wish the iconic Gwen Stacy death was attached to a much better film. The scene alone is great. If you were showed me that clip by itself, I would've thought we were about to receive the best Spider-Man movie yet.

 

[Lone_Prodigy]

The web becoming his hand was cheesy beyond belief, but otherwise it was a great scene.

I liked how he mourned for a long time (a kid in the audience said "how long is he going to stay there?") but 4 seasons in 5 months?

 

[HoodWinked]

so i was in my car and a song came into my head its that gone gone gone song thats in the movie and when i saw that scene originally in the movie it was so awful.

i'm surprised more people arent saying how stupid of a song choice and scene paring that was. it was cringe worthy and the sort of thing you expect in some generic rom-com which is surprising since 500 days of summer was such an untypical rom-com and very enjoyable.

 

[kehs]

Oh yeah, who is that old dude in the hat at the end supposed to be?

 

[Mistel]

Oh yeah, who is that old dude in the hat at the end supposed to be?

The gentleman I believe.

The one and only.

Takanuva is much better developed but I suppose he wasn't voiced by Worf so.

 

[Pavaloo]

Oh yeah, who is that old dude in the hat at the end supposed to be?

the HR manager that goes through applications for the sinister six

 

[Toa TAK]

Takanuva is much better developed but I suppose he wasn't voiced by Worf so.

Don't get me started on Takua in MOL.

the HR manager that goes through applications for the sinister six

It's a Metaphor for Sony.

It's like poetry, it rhymes.

 

[Salamando]

Oh yeah, who is that old dude in the hat at the end supposed to be?

Also worth asking how does he have access to special projects? You'd think after Harry almost killed the new Oscorp president that he'd have that stuff moved or locked down more securely or destroyed to retain plausible deniability.

 

[Lone_Prodigy]

Also worth asking how does he have access to special projects? You'd think after Harry almost killed the new Oscorp president that he'd have that stuff moved or locked down more securely or destroyed to retain plausible deniability.

Not to mention Colm Feore put the area on lockdown yet Harry was able to access the suit and get out.

 

[Trike]

Also worth asking how does he have access to special projects? You'd think after Harry almost killed the new Oscorp president that he'd have that stuff moved or locked down more securely or destroyed to retain plausible deniability.

He is based off of a character from the Sinister Six novels, The Gentleman. No idea why they are going to some novels for inspiration, but that is the guy. Gutsav Fiers in the novels is a businessman wanting to get revenge on Peter because his parents thwarted his evil plans in the 60s. He organized a new incarnation of the Sinister Six (or the first in that continuity? No idea if it is canon) to make himself richer. I think he is also extremely racist in the books.

In a deleted scene for ASM2 he calls Norman Osborn('s head) an old friend. So I am guess that is how he has access to Oscorp stuff. Or he is just rich as hell.

Fun Fact: Michael Massee portrays him in the films. He is the one who accidentally killed Bruce Lee's son, Brandon Lee, while filming The Crow.