![]() There's also The Rhino but his debut comes even later than The Goblin's. I suppose the real villain of the piece is The Green Goblin, but he doesn't show up until near the end. His motives are also poorly defined what is his soul's desire beyond killing Spider-Man? Electro recalls The Sand-Man in Spider-Man 3: an imposing bad guy who's just around to add some variety to the battle sequences. Instead of dying like any self-respecting overzealous worker, he becomes a supervillain called "Electro." The screenplay never bothers to establish the "rules" governing him nor does it do a good job of explaining his limitations. After being electrocuted, he falls into a tank of mutant eels and is repeatedly bitten by them. While Harry and Peter are busy rekindling their bromance, one of Oscorp's loyal electrical engineers, Max Dillon (Jamie Foxx), has an accident. In Captain America: The Winter Soldier, I accepted that the title character and Bucky Barnes were once close buddies. After an awkward reunion scene, it's just like old times for these two, but the artificial manner in which Harry's bosom friendship with Peter is forced upon the audience makes this relationship a non-starter. Meanwhile, we discover that Peter's childhood best friend, Harry Osborn (Dane DeHaan), is back in town, having taken over Oscorp following his father's untimely death. ![]() Worried that his relationship with Gwen might be putting her life in danger, he breaks it off with her. At least early in the proceedings, Peter isn't likable, although the screenplay eventually humanizes him a bit. Gwen is delightful but the same can't be said of Peter, who comes across as a smart aleck. For a $3 surcharge you can get blurry images, washed out colors, and very little "pop."Ī majority of the movie focuses on events in and around Oscorp, the omnipresent New York City tech corporation that employs Gwen Stacy (Emma Stone), the platinum blond girlfriend of Peter Parker a.k.a. ![]() And the 3-D recalls the nadir of the technology. Spider-Man is too obviously the product of computer graphic artists as he swings around New York (an oft-heard complaint about the webslinger from back in Sam Raimi's first installment). The "resolution" to the mystery of Richard and Mary Parker is an anti-climax. The central villain (to the extent that there is one) is all bluster and no menace. Key relationships are given short shrift. There are some good moments in The Amazing Spider-Man 2, especially toward the end, but the whole thing seems to have been assembled by filmmakers tone-deaf to what constitutes compelling cinema. Sitting through The Amazing Spider-Man 2, I had the feeling that screenwriters Alex Kurtzman, Roberto Orci, and Jeff Pinkner and director Marc Webb were throwing everything they could think of at the audience to see what might stick. There are too many negatives to keep the experience from being the kind of giddy adrenaline rush one hopes for with a Big Summer Flick. The fifth Spider-Man feature, which is the sequel to the unnecessary reboot, is all over the place, an undercooked cinematic casserole that blends some genuinely touching moments and well-presented action sequences with bad melodrama, overlong exposition, and overexposed CGI. ![]() In the superhero genre, it's too easy to become sloppy and fall back on clichés. It takes something lackluster like The Amazing Spider-Man 2 to remind viewers why movies like Captain America: The Winter Soldier are considered superior.
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