I was never a particularly heavy reader of comic books, but in my younger days I always enjoyed the Spider-Man and X-Men cartoons that aired on Fox every Saturday morning. Of the two, I always preferred the former. While X-Men had cool fights and an epic plot, Spidey’s insight into the daily trials and tribulations of unlikely hero Peter Parker made it infinitely more interesting.
When “Spider-Man” first premiered in theaters two years ago, it had succeeded in taking the many traits of the animated series and translating them into film format. However, the recently released “Spider-Man 2” not only excels in replicating the atmosphere and style of the previous film, but does even better. Those that may have never seen the first movie shouldn’t fret. The plot to “Spider-Man” is retold through comic book-esque stills throughout the opening credits before bringing the audience to where those images leave off as Peter Parker (Toby Maguire) struggles to maintain a normal life in the wake of his superhero duties as Spider-Man, his everlasting infatuation with childhood sweetheart Mary-Jane Watson (Kirsten Dunst), and a new enemy, Doctor Octopus or “Doc Ock” for short (Alfred Molina).
The movie can almost be divided into two different plots. With only a few connections between the two that are revealed late into the story, it seems like a viewer is watching two alternating movies. The “superhero” plot should more than satisfy. Fights are loaded with excellent choreography, special effects, and clever surprises (especially the subway battle). Spider-Man himself is overall the same as he’s always been, combining his web-slinging with conventional brawling which easily suffices.
The big notability, though, is in the bad guy. Although Doc Ock’s motives for being villainous are utterly ridiculous, he makes up for it aesthetically. Whereas the previous film’s Green Goblin took every moment to advertise how evil he was, from his clichí©-ridden exchanges with Spidey to how his face mask was constructed to give him a blatant, unnaturally evil smirk, Doc Ock’s costume is far more utilitarian and plausible. Furthermore, rather than recite bad puns, he prefers to show his villainy through strength, as epitomized by his throwing a car through a cafí© window in order to send a message to Peter Parker.
The epic conflict between Spider-Man and Doctor Octopus, however, seems almost like an afterthought in lieu of the personal conflicts of Peter Parker. Parker’s personal life takes turns for the worse as his work as Spidey complicates his financial situation and college grades, making them unbearable to the point where he begins to seriously question his late uncle’s advice that the greater good comes before one’s personal desires.
His inner turmoil and final resolution to such, is bolstered along by well-written and performed dialogue to all those involved. “Spider-Man 2” is at its absolute best, though, when it’s portraying the romance between Parker and Watson. While most movies make no doubt as to whether or not the lead and the love interest will hook up in the end, the love story in “Spider-Man 2” is ever-twisting, showing the audience a gargantuan question mark as to the fate of the would-be relationship. Such doubt heightens the impact of every romantic advance Parker takes, making the end result seem more of an accomplishment rather than an inevitability.
With strong action and a saturation of tear-jerking scenes, “Spider-Man 2” is definitely one of the strongest movies released so far this year. Its value is only heightened with the imminence of a “Spider-Man 3,” which will hopefully bring Spidey’s inner conflicts to a satisfying close while supplying more screen time to J. Jonah Jameson (J. K. Simmons) … and maybe explaining how Spidey swings through New York City by attaching his web to the top of the movie screen.
