Spider-Man 2

Released 16th July 2004, Spider-Man 2 follows Peter Parker as he tries to balance his busy life with the gruelling task of being New York’s hero; Spider-Man. The first thing to note with this film is that the narrative is far tighter than the original with how it juggles it themes and characters. Despite being the most iconic line from Spider-Man, “With great power comes great responsibility” is the core of this film with Peter desperately trying to find time for himself whilst being constrained by his duty to New York. The film also delivers New York’s outlook on Spider-Man far more subtly than its predecessor whilst also remaining constant throughout; a decision which makes Spider-Man’s heroic recognition feel much more deserved at the points he receives it.

I can gladly report that the visual effects are far better than its predecessor with some of its effects being fabulous for the time. It is also a relief to say that Tobey Maguire is better in homing his performance as Peter Parker this time around. He may still be the weakest of the cast but he always shows some emotion, albeit too little or too much at times. JK Simmons still steals every scene he is in as the comedy gold that is J Jonah Jameson. James Franco and Alfred Molina are good as Harry Osborn and Otto Octavius respectively; Franco delivers an understandably jaded Harry while Molina portrays Otto with good charisma and subtly. Despite this Otto doesn’t work as well as he should have; his character ends on a satisfying note but until the last 20 minutes he is just a watered down Norman Osborn from the film’s predecessor.

My biggest character problem however is with Mary Jane Watson; Kirsten Dunst gives a great performance, and she is less of a plot device than in the last film, but her attitude really starts to frustrate the viewer after her third fight with Peter (in this film alone) and so begins the trend of most other superhero films post-Raimi which hyperbolise the ‘We can’t be together’ trope. On top of this she is once again used in the finale as the damsel in distress; can we have one film where Mary Jane isn’t in need of saving*? Well at least the score is still as bold and brilliant as before with Elfman’s motifs remaining as iconic as ever. Overall this film has some solid highs but it also drops the ball in some crucial character areas where they could’ve been avoided.