Still reeling from the loss (and sort of reappearance) of Gamora (Zoe Saldana), Peter Quill (Chris Prtt) rallies the team to save the universe and one of their own as the High Evolutionary (Chukwudi Iwuji) sends out mercenaries including Adam Warlock (Will Poulter) to retrieve one of his past experiments – Rocket Raccoon (Bradley Cooper).
The Guardians of the Galaxy films and characters have always been a bit of a mixed bag for me. Some characters I really like, others I find annoying and the films themselves don’t always work for me with the kind of humour they have running through it. So, I was very pleasantly surprised by how much I enjoyed Guardians of the Galaxy Vol. 3. That James Gunn-humour is still there, and while I heard other people in the cinema laugh out loud a lot, I don’t think I did once but would still regularly grin a joke. Unlike in other MCU films where a joke undercuts any dramatic or emotional tension, Vol. 3 didn’t really have that and actually let some more dark and serious moments settle with you.
Guardians of the Galaxy Vol. 3 delves into Rocket’s backstory and his connection with the High Evolutionary. It is almost hard to watch all the animal experimentation going on even though they’re all computer-generated and it definitely skirts the edges of body horror at times. The High Evolutionary is also one of those kind of old-school villains in the sense there’s no tragic backstory and instead they are just a horrible, manipulative person who does evil things to innocent people and you want to see get them get their comeuppance. It’s kind of nice to have a villain that’s there to be awful and for the audience to hate without being like “well they kind of have a point to an extent”. The High Evolutionary has a huge ego and a god-complex and does horrendous things because of it and thinks he’s right. He’s just the sort of villain you want to see beaten. (more…)
When the daughters of Atlas (Helen Mirren and Lucy Liu) return to Earth with plans to destroy the world of humans, Billy Batson (Asher Angel) and his adult superhero alter ego (Zachary Levi), must bring his superhero family together to save the world.
The first Shazam! film was an unexpected delight and while Shazam! Fury of the Gods doesn’t reach the heights of the original, it’s still a pretty fun sequel that builds on the themes of family that was so essential to the first one. That being said, I would’ve like Asher Angel to have more screentime with his on-screen siblings, as adult Billy aka Zachary Levi, definitely had the most screentime with the siblings, both the kid-versions and the superhero-versions. The first film had such a great balance between the superhero and the kid stuff but in Fury of the Gods it was definitely more skewed towards the superhero stuff. Which kind of makes sense but it was to an extent where you sometimes for got that this superhero was a teenager – especially as teenage Billy was a lot calmer and more thoughtful than superhero Billy who sometimes veered off into being almost Deadpool-esque with the abundance on one-liners and acting more like comic relief than a hero with responsibilities. (more…)
After Cassie Lang’s (Kathryn Newton) prototype goes awry, she along with her father Scott (Paul Rudd), Hope Van Dyne (Evangeline Lilly), Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer) are pulled into the Quantum Realm and have to rely on each other to find a way back home.
I do have mixed feelings about Ant-Man and the Wasp: Quantumania as it’s a film I enjoyed when watching it, but then thinking about it in hindsight there’s stuff that really didn’t work for me.
One of those things is the editing – it was really all over the place. Some of the shot choices were weird and the way things were edited together it was often hard to tell where characters were in relation to each other. This was annoying and sometimes confusing in action sequences but it was downright strange in scenes where characters are sitting around a table talking. Some edits were jarring and took me out of scenes that should be really simple to follow.
Ant-Man is known as one of the more comedic characters in the MCU and unlike Thor: Love and Thunder, Quantumania finds the right balance when it comes to humour. No joke is over done and new and quirky characters are some nice, fun light relief and are used well.
As the vast majority of Quantumania takes place in the Quantum Realm special effects and CGI is abundant and for the most part it’s pretty good. Some things do feel flat and the creature designs and environments kind of feel like they’d fit in well in the world of Stars Wars, but other creatures are pretty cool. I think some of the issues are that no doubt the actors filmed a lot of this film on green screens and you could tell as at times a couple of actors were supposed to be looking at something and their reactions were out of sync or they were looking in slightly different directions so their sightlines were off. Again, this may well have been improved with better editing choices.
Besides the general problems that arise being in an unknown world, Scott and his family have to contend with secrets from Janet’s past, which includes Kang (Jonathan Majors). Majors is a really imposing and compelling presence throughout the film and Quantumania does that always helpful thing of building a mythos around someone before you even meet them. Majors really has a sense of gravitas in his performance and even when Kang is talking to other characters in a perfectly reasonable tone it always feels like there is an underlying threat there.
Quantumania straddles the line between being a nice, self-contained story about a family trying to make their way home and setting out the building blocks for the MCU’s next big villain. This also makes the film a bit awkward at times and while Kang is an effective presence in Quantumania, rightly or wrongly he out shines the heroes of this story.
Overall, I did have fun while watching Ant-Man and the Wasp: Quantumania but it’s not without it’s faults. I will say that while I’m not sure how memorable this film will be in terms of the rest of the MCU, at least I enjoyed watching it unlike Thor: Love and Thunder which actively annoyed me as I was watching it. 3/5.
In the wake of King T’Challa’s (Chadwick Boseman) death, Queen Ramonda (Angela Bassett) must lead the people of Wakanda as they fight to protect their home from outside forces – whether that’s member states of the UN, or the nation of Talokan in the deep depths of the ocean led by Namor (Tenoch Huerta).
It’s pretty much impossible to talk about Wakanda Forever without talking about the passing of Chadwick Boseman and the affect this had on the film. Director and co-writer Ryan Coogler incorporated Boseman’s passing into the film and needless to say in the first five minutes I was already getting emotional. This makes Wakanda Forever an almost unique grieving experience. All the characters who knew T’Challa are mourning his passing, and so are the actors playing them, and so are you as you watch this film. It’s easy to imagine that in some of the big emotional scenes, the actors used their grief for their friend and co-worker to fuel their characters grief.
There’s a lot going on in Wakanda Forever with new characters and a new civilisation with a lot of backstory introduced and some aspects were more interesting than others. Martin Freeman’s CIA agent Everett Ross is back and while his character is somewhat integral to moving the plot forward to begin with, it does kind of feel like the film grinds to a halt every time it leaves Wakanda to see what he’s up to in America. Wakanda Forever is close to three hours long and it’s moments like this that makes you feel the runtime.
The whole cast is incredible but Bassett, Huerta and Letitia Wright are truly standouts. Angela Bassett gives a couple of powerful and emotional monologues and the fact that one is almost soft with her contained rage while the other has her pain over flowing just shows how talented she always has been. Plus, the first happens in the UN in front of a majority white audience while the latter happens in the throne room in Wakanda, infront of the other tribal leaders and her people – once again showing how these characters have to be uniquely aware of their race and power even when they’re from one of the most technologically advanced countries in thise universe.
Namor is such an interesting villain – though really he is more of an antihero – and Huerta is just so compelling that your eyes never leave him whenever he’s on screen. His Namor is principled and loyal but on the flipside, he can be very intimidating and, like the first sequence where the people of Talokan attack, almost frightening. Letitia Wright’s Shuri goes through a lot in this film but she’s truly the emotional centre of Wakanda Forever. She’s trying to combine her love and knowledge of science with the realisation that it wasn’t enough to save her brother and if that’s the case how can she protect her people? Her inner turmoil is fascinating and Wright is phenomenal – pretty much every time I felt myself get teary eyed, it was due to her performance.
One of the many things I really appreciated in Wakanda Forever was that it let emotion and drama sit with you. There are jokes or humorous moments in the film – mostly from Winston Duke’s M’Baku who is still an excellent scene-stealer – but they’re used in a way to ease some tension rather than becoming an almost parody of the MCU joke machine as seen in some other MCU movies recently aka Thor: Love and Thunder.
Black Panther won Oscars for Music, Costume, and Production Design and those same Oscar winners are back for Wakanda Forever and I wouldn’t be surprised if they got awards consideration again. Ludwig Göransson’s score has echoes of familiar themes but also plays on the unknown with Talokan, and both Ruth E. Carter and Hannah Beachler make both Wakanda and Talokan feel so alive with their costumes and set design and when it comes to Wakanda, adds to the history and culture we already know. Both Wakanda and Talokan feel so vast and real because of the costumes, sets and props especially as they’ve incorporated African and Indigenous cultures into it all.
Overall Wakanda Forever is a story about grief. How grief is hard and messy and people deal with it in different ways and some ignore grief until it almost consumes them. It still has its action and the Dora Milaje led by Okoye (Danai Gurira) is still awesome and it’s a thrill seeing so many complex and powerful women on screen, working together. Black Panther: Wakanda Forever is definitely my favourite MCU film released this year. 4/5.
Nearly 5,000 years after he was given the powers of the gods Teth-Adam (Dwayne Johnson) is freed from his earthly tomb, to find his home country of Kahndaq is now besieged by mercenaries, so he sets about unleashing his unique form of justice on the modern world.
The best thing Black Adam has going for it is Dwayne Johnson. He does make an imposing villain/anti-hero and it is kind of fun seeing him be so ruthless with a bunch of bad guys without then second guessing it. It’s clear from the outset that the people who have invaded this country are not good people and deserve anything that is coming to them.
Naturally Black Adam needs some superpowered good guys to go up against and that’s where the Justice Society of America (JSA) comes in. Like all the superpowered characters in this film, I knew nothing about the JSA and I still know little about them and how the Justice Society works as this film gives very little backstory or characterisation to any of them. Atom Smasher (Noah Centineo) is the new guy, Cyclone (Quintessa Swindell) has pretty cool and colourful wind powers, Hawkman’s (Aldis Hodge) main thing is saying “heroes don’t kill people” over and over again, and Dr. Fate (Pierce Brosnan) is just the best and steals just about every scene he’s in – even when he’s going toe to toe with Black Adam.
Everyone gives fine to good performances and the JSA team are all generally likeable and have decent charisma but it was hard to really care about them all. Also naturally, as Black Adam couldn’t be an out and out villain, there was always going to be something that would unite him and the JSA as they fight some other big bad. It’s a superhero movie cliché and unfortunately in this instance, the random new baddie wasn’t particularly interesting either.
Something that the film treats as a Big Reveal and a plot twist, is diminished as it’s in the trailer and it’s not even a subtle thing. If you’ve seen the first trailer, the trailer below in fact, you may be like me watching this film, just waiting for something seemingly obvious to be spelt out, but that thing is only so obvious when you’ve seen the trailer. It’s poor marketing on the studios part as any dramatic heft is lost.
I did like what Black Adam had to say about Western (super) powers not being interesting in the strife of a Middle Eastern country such as Kahndaq, until they have their own powerful guardian and then they are seen as a threat. That kind of on the nose but different (for a superhero movie) political commentary was unexpected but welcome.
Black Adam is neither particularly good nor particularly bad. If I was a kid, I’d probably have a great time with this as it reminded me a bit of those “middle tier” superhero movies like Fantastic Four (2005), it has a lot action set pieces and bombastic fights while also not being very memorable. Some of the CGI is a bit dodgy and trying to stuff so many new and somewhat obscure characters into a two-hour movie means that characterisation is left by the wayside. 3/5.
Unsure of his life and what he wants from it, Thor’s (Chris Hemsworth) mid-life crisis is interrupted by Gorr the God Butcher (Christian Bale), a galactic killer who seeks the extinction of the gods. Thor enlists the help of King Valkyrie (Tessa Thompson), Korg (Taika Waititi) and his ex-girlfriend Dr Jane Foster (Natalie Portman), who is now the Mighty Thor and wields Mjolnir, to stop the God Butcher.
Thor: Love and Thunder is style over substance. I feel at one time I may have had that criticism for Thor: Ragnarok but at least there the tone was mostly balanced and there was still a decent plot and character work. In Love and Thunder it’s all bright colours (except in the Shadow Realm which is the one stylistic thing and sequence I found interesting) and rock music and it’s so tonally inconsistent and the jokes are juvenile and grating. There’s running gags in Love and Thunder that may have been a bit cringey but generally OK the first time but the fact that they just keep going with that joke it feels like it’s flogging a dead horse and even if it was a little funny to begin with, in the end it becomes so unfunny that it’s painful. The jokes also often come at the expense of the drama and supposedly more emotional, hard-hitting moments which is annoying. Also, if you’re like me and only really like Korg in small doses, then Love and Thunder may be grating at times as that is a “funny” character I do not find amusing.
The tonal inconsistences aren’t just the humour undercutting dramatic moments, but how in some ways Gorr feels completely out of place to the rest of the film. Christian Bale is great in the role and is creepy and gives a great performance. Gorr is so serious, and perhaps a little mad, so when he comes up against a God that’s self-indulgent and arrogant it’s kind of jarring. You could say this is on purpose – showing how the Gods don’t care about the people that worship them and how they just want to live in opulence and have all the food, wine, and sex that they could ask for – thus giving Gorr all the more reason to kill the Gods. However as elsewhere in Love and Thunder there’s humour undercutting dramatic moments and drastic tonal shifts it feels like it’s part of a wider issue.
One of my biggest problems with Thor: Love and Thunder is Thor as a character. In films of all genres, I can kind of forgive a weaker plot if the character work is good. Especially in franchise films, if I like a character, I just enjoy seeing them and how they’ve grown and adapted to whatever situation they’re in and what’s going on around them isn’t such a big deal for me. With Thor: Love and Thunder the plot isn’t great and neither is the character work. Thor seems like he has regressed as a character and is back to being the arrogant man-child he was at the start of Thor. The whole point of the first film his him learning some humility, that actions have consequences and you can’t always go charging in like a bull in a China shop. Over the past however many Thor and Avengers movies Thor has learnt the smashing things without first attempting diplomacy isn’t the answer. In Love and Thunder, he doesn’t seem to care about anyone, including the Asgardian people he’s supposed to love and protect; summoning the Bifrost in buildings, destroying sacred temples as he stops bad guys, and just generally acting like an irresponsible buffoon.
Though she’s now King, Valkyrie gets no real development, any hints at a genuine friendship between her and Jane are few and far between and she is regulated to Thor’s sidekick once again. Jane and her heavy origin story and rise as the Mighty Thor feels shafted due to it being surrounded by flat jokes doing wrong by her as a character and what she’s going through. Plus, as it’s been a while since we’ve seen the character, the Jane/Thor romance feels underdeveloped even as the film gives a copious number of flashbacks to try and make you care about it.
Thor: Love and Thunder relies on the (unfunny) banter between characters rather than any real meaningful dialogue or emotion and does a disservice to all of its character. It definitely feels like Thor: Love and Thunder didn’t work when the thing that got the biggest reaction from me was an actor’s appearance in the midcredits scene. The rest of the film didn’t particularly make me feel happy or sad and I may have smiled a couple of times or chuckled but never full on laughed at anything that happened on screen. 2/5.
Perhaps I’m being generous with a 2/5 rating but that’s what I’ve settled on. I liked Gorr and the Shadow Realm sequence but everything else, not so much. As someone who tends to have mixed to positive feelings about Thor: Ragnarok, Thor: Love and Thunder is a serious step down.
When Doctor Stephen Strange (Benedict Cumberbatch) meets America Chavez (Xochitl Gomez), a girl with extraordinary but uncontrollable powers, he gets pulled into an adventure spanning the multiverse to save her and their universe.
Doctor Strange in the Multiverse of Madness is an interesting film and probably one where people may have expected more from its concept. While Doctor Strange does traverse the multiverse, he only spends a decent amount of time in a couple of different universes so it doesn’t really feel like a true “multiverse of madness”. That being said, this is one of the shorter MCU films of late at just over two hours so the lack of extra universes makes a pretty snappy runtime for a film that’s juggling a fair few characters.
Helping Doctor Strange on his mission is his trusted friend and the new Sorcerer Supreme Wong (Benedict Wong) and former Avenger Wanda Maximoff (Elizabeth Olsen). Personally, I love seeing Wong’s role expand from one MCU movie to the next. Benedict Wong is a charming guy and brings a likeability and stability to Wong, especially when next to Strange’s more reactive and harsher attitude. Wanda has an interesting arc and Olsen has always been good in the role but it looks like she really relishes showing a different side to Wanda. I’d be interested to know what people who’ve not seen WandaVision (or have forgotten huge chunks of it) thought of Wanda and her storyline in this film and whether her motivations were understandable and if there was enough context in the dialogue to explain what was up with her.
Dr Christine Palmer (Rachel McAdams) has more to do here than in the first Doctor Strange movie which was nice. In the brief moments we saw of her in the first film it seemed like she was smart and capable at rolling with the magical punches, and in Doctor Strange in the Multiverse of Madness that proves to be the case. Gomez’s America Chavez is an interesting one. The Young Avengers comics is one of the few series I’ve read so I did know about her before watching the film and I’m not sure they did the character from the comics justice. America Chavez should have more gumption and confidence in her abilities, which we don’t really see here. You could say this adventure is what helps her become the America we see in the comics than can be a bit of a copout – especially when so often male characters don’t have to go from meek and mild to a confident leader.
It probably shouldn’t be a surprise as Doctor Strange in the Multiverse of Madness is directed by Sam Raimi but there’s a lot of creepy horror imagery in this film. Raimi directed the original Tobey Maguire Spider-Man trilogy and outside of that he’s best known for his horror films and he certainly brings the horror here. There are jump scares, evil spirits, and some gory and bloody moments too. When you continuously hear that directors can’t put their own unique stamp on franchise films, it’s nice to see something in the MCU that does feel distinctly different.
The score by Danny Elfman is also pretty great and knows how to amp up the tension and add to that unsettling feeling. There’s one fight sequence where music plays a big part and it’s really fun visually and audibly, and shows a different way the magic that’s at Doctor Strange’s disposal can be used.
I think the things people may love or hate about this film are the things that I can’t really talk about in a spoiler-free review. There are cameos and reveals, some work and may have a lasting impact, while others I’m pretty sure are just fanservice. It’s the inclusion of the horror-esque elements that make Doctor Strange in the Multiverse of Madness standout but the problem I have with it, is the same problem I have with Doctor Strange – I don’t really like Stephen Strange as a character, and I much prefer it when he’s part of an ensemble. The start of the film is a bit slower but he’s at least with Wong more who mutes Strange’s attitude a bit. When Strange is front and centre, as he should be as the titular character, that’s when things get a bit shakier for me. A trope I love is “grumpy man adopts sassy teen” and though that’s the kind of dynamic they try and push with Strange and America, it just never hits the mark.
Doctor Strange in the Multiverse of Madness is often weird and creepy but it doesn’t feel like it did enough with its multiverse premise – or there were bigger expectations on it than it ever hoped to deliver. The acting is good, the score’s great, but there was never really enough to allow me to connect with the majority of the characters or to make me really feel anything. 3/5.
Sidenote: if you want a really great multiverse adventure, watch Everything Everywhere All at Once.
When the Riddler (Paul Dano) begins murdering key political figures in Gotham, Batman (Robert Pattinson) investigates and finds a web of corruption that his own family may be entangled in.
The Batman is a great standalone film while also being a film that offers enough of its key cast that makes me want to see more. There are no origin stories for any of these characters, any backstory can be inferred by their actions or, if it’s needed to move the plot along, via dialogue. Gotham as a place feels real and lived in. It’s rundown and lawless and a mask vigilante would certainly not be out of place here. The vast majority of the film takes place at night – or at sunrise or sunset – but it’s a film where you can see exactly what’s happening even when it’s dark and raining. The Batman is a well shot and often very good-looking film; cinematographer Greig Fraser does great work here.
The Batman sees a Batman who has been doing this “job” for two years and has become a figure of fear to the criminals in the city. The interesting thing is you see Batman for the vast majority of the film, rarely seeing Bruce Wayne. This Bruce is so focused on being Batman and saving the city that Bruce is seen as a recluse, shut up at home and only seeing Alfred (Andy Serkis) and a housekeeper. He has yet to become the playboy public figure we’ve seen in other Batman films as this Bruce is so caught up in his anger and grief over his parents’ death that he almost doesn’t know how to be normal and make human connections when he’s not wearing the cape.
This leads to one of the most interesting dynamics in The Batman, which is the one between Batman and Lieutenant James Gordon (Jeffrey Wright). It’s a take on the relationship that I haven’t seen in previous Batman iterations. They work together well and while they may argue they also trust one another. For a film that’s “dark and gritty” there’s almost always a wry sense of humour whenever these two interact. Potentially this is because Gordon is a bit worn down by everything and while Batman is a weird vigilante, at least he’s doing something. While Gordon doesn’t know who Batman is, it’s like he doesn’t care that he’s the imposing figure of Batman and can see he’s still a regular guy under that mask. Gordon puts his reputation on the line for Batman while Batman explicitly states that Gordon is one of the only people he trusts and believes in multiple times.
There are a lot of key characters here and as the murders mount up and Batman and Gordon look into the corruption and all the threads tying these people together, it can get a bit convoluted. Though it has its costumes and explosions, The Batman is a crime/mystery story at its heart. Batman, and the police department, are trying to solve Riddler’s clues before someone else winds up dead, it’s just that all these people are tied to one another and with its almost three-hour runtime it can be a bit hard to remember how people are connected.
That being said, I was never bored watching The Batman. The character moments were often as interesting as the action sequences and watching Batman be a detective (though he’s perhaps not the best detective ever yet) felt new and exciting. Seeing him lurk around crime scenes surrounded by dubious police officers while Gordon vouched for him was simultaneously weird, funny, and great.
The whole cast is great but a shout out has to go to Paul Dano’s Riddler who is incredibly unsettling and intriguing with a limited amount of screentime. Colin Farrell as the Penguin is near unrecognisable thanks to the make up and prosthetic work and a fat suit. So, while he plays a fun character, one has to wonder why you needed Farrell in the role and in all that getup. Couldn’t a fat actor have been cast? Especially as in this film Penguin is more or less a standard mob boss. Zoë Kravitz’s Selina Kyle/Catwoman rounds out the main “villains” in this film and her dynamic with Batman is something I’d like to see more of.
Overall, The Batman is a pretty great film. The whole vibe of it is dirty and often almost hopeless but with Gordon – who almost acts like a co-lead at times – as the good centre there is some hope. This Batman is pretty interesting as he tries to find how to be both a figure of fear and a figure of hope, depending who needs it. I would love to see more of these characters and of this Gotham. And I can’t finish this without mentioning Michael Giacchino’s score – it’s excellent, suits the tone of the film perfectly and just heightens how threatening and imposing Batman can be. 4/5.
After the events of Spider-Man: Far From Home, Peter Parker (Tom Holland) is dealing with the repercussions of the world finding out his secret identity. When things starting affecting his loved ones, Peter turns to Doctor Strange (Benedict Cumberbatch) for help but when a spell goes awry, dangerous villains start to appear with one goal – take down Spider-Man.
Don’t worry, this will be a spoiler-free review!
In previous Marvel Cinematic Universe Spider-Man outings, Tom Holland’s Peter Parker has felt very young and naïve. He’s previously made mistakes but it’s seemed like it took him a long time to learn from. For me, No Way Home finally sees Peter mature and become Spider-Man in a way we haven’t really seen much before in the MCU. It’s impressive that with a film chockfull of characters, Peter Parker stays the focus and driving force behind everything and Tom Holland does an excellent job in the role.
MJ (Zendaya) and Ned (Jacob Batalon) as team FoS (Friends of Spider-Man) are both great, adding both humour and suitable drama to various situations. Having the two of them knowing about Peter’s not-so-secret identity and helping him on his missions just feel right. All three of them have different skill sets but are super smart and seeing them work together and deeply care for one another is great.
It is a joy to see past Spider-Man villains on screen again. Alfred Molina once again delivers pathos to Doc Ock, but it’s Willem Dafoe’s Green Goblin that is the real standout. How he portrays both sides of the character, Norman Osborn and the Goblin, and can switch instantly between the two is still incredibly creepy.
It’s easy to say that Spider-Man: No Way Home prays on nostalgia and fan service with all these characters we’ve seen in previous iterations of Spider-Man making an appearance but No Way Home uses these characters so well that it doesn’t feel cheap. Sure, some of the villains aren’t as well developed as others but generally speaking it feels like these characters are there for a purpose and have a narrative arc that compliments what we’ve seen them before. There’s a purpose to the vast majority of these villains and no one feels like a brief cameo.
The first act is a little shaky but once the spell goes awry and a bunch of villains start showing up everything seems to click into place and Spider-Man: No Way Home is such a fun experience. The action is exciting, there’s some real emotional moments between various characters and so much of the cast has great chemistry that I’d love to see some of these actor combinations on screen again some time.
Spider-Man: No Way Home is probably not a perfect movie, but I can’t deny how much I enjoyed it and how I got swept away by it all. Having too many villains has been detrimental so many films before but here they know how to use them to great effect and keep Peter Parker at the centre of it all. 5/5.
Peter Parker (Andrew Garfield) is loving being Spider-Man though he does feel guilty about continuing his relationship with Gwen Stacy (Emma Stone) as he feels he’ll only put her in danger. That danger soon arrives in the form of Electro (Jamie Foxx) and as Peter tries to deal with this new threat while still coming to terms with the secrets of his parent’s past, his best friend Harry Osborn (Dane DeHaan) returns to New York.
Watching The Amazing Spider-Man 2 now, knowing this was Andrew Garfield’s last outing at the titular character and the filmmakers/studio never brought to screen the Sinister Six they spent a chunk of this film setting up, is a very funny and kind of a sad experience.
Because by the end of The Amazing Spider-Man 2 you can’t help but feel it’s an extended set up for what never came. There are so many plots in this film and if a few were cut out or even shortened it might have made a more cohesive film and the plots left might’ve been more effective. In the end, there’s a lot of things that felt pointless and repetitive.
Speaking of repetitive, the on and off again romance between Peter and Gwen got old very quickly. While yes, they’re supposed to be awkward teens in love they just kept going over the same arguments about why they should or shouldn’t be together. Garfield and Stone still have great chemistry but there’s only so many times you can watch two people have the same argument or talk at cross-purposes.
Another aspect that felt pointless and dull was all the stuff about Peter’s parents – or rather his father, his poor mum certainly got shafted. There was one minor detail revealed once Peter learns more about his dad but it’s more of a “Oh that’s cool” thing rather than having any major narrative impact. Otherwise, anything to do with his dad seems to say Oscorp is bad – something which was already pretty clear from the first film. In The Amazing Spider-Man you learnt that Peter’s dad didn’t want his research getting into the wrong hands and in The Amazing Spider-Man 2 it just rams that point home again.
Electro is a pretty decent villain. His looks and powers are interesting though (like another character) his decent into villainy felt far too quick, especially because of where he started. Before he got his powers, he was a nerdy guy who was a pushover and idolised Spider-Man so seeing him first of all be scared and overwhelmed by what was happening to him felt true to character. How he changed from loving Spider-Man to hating him so quickly felt more out of place.
Andrew Garfield’s Spider-Man is still one of the best we’ve seen on screen. He’s confident, cracking jokes and poking fun at the bad guys, but the problem is that the attitude bleeds into his Peter Parker. While his Peter Parker is clearly more intelligent than the Maguire version (always like the scenes where Peter is doing experiments to improve his web shooters) he doesn’t seem as awkward, quiet and nerdy.
Surprisingly considering how little screentime and decent character development he had, I once again both really liked and felt sorry for Harry Osborn. Though, I probably would’ve liked his arc a lot more if it was given more time and his decent into villainy wasn’t shoehorned into the end of the film. Also, having Peter and Harry be childhood friends reconnecting is a neat way of getting him back into Peter’s life but there’s only really one scene where you see them bonding and acting like friends before Harry starts to want something from Peter. Cutting out some of the will they/won’t they stuff with Peter and Gwen to give us more scenes of Harry and Peter could’ve helped all three of those characters.
The Amazing Spider-Man 2 just has too much going on and now there was never a third film in this series the flaws seem even more obvious. It’s messy when trying to juggle all these plot threads and while many of the Spidey scenes are great fun and action-packed, there’s a bit of a videogame quality to them due to the CGI.
I’ll end this on a positive, I did like the score by Hans Zimmer and Pharrell Williams, Mike Einziger, Junkie XL, Johnny Marr, Andrew Kawczynski and Steve Mazzaro. Electro’s theme especially was eerie with the whispers underscoring the techno and it really suited the character. 2/5.