Poor Frank Castle. He can’t get a film franchise started to save his life. It’s just reboot after reboot. However, out of the three that have been made, I believe this is the one that gets the most right in the right places. I did see this theatrically, twice in fact, and I was really blown away by it. Regardless, it did poorly at the box office due to a lackluster marketing campaign by Lionsgate and an untimely December release date. Conversely, this was the same year that gave us Iron Man, The Incredible Hulk, and The Dark Knight. So, there was high caliber benchmarks set in 2008, and I would say that Punisher: War Zone did not disappoint, in most part. To me, Ray Stevenson is the best Frank Castle to date, but there are some glaring problems with the villain of Jigsaw that impact the quality of the overall movie.
Ex-Special Forces officer Frank Castle (Ray Stevenson) wages a one-man war on two fronts. While targeting the vicious mob boss, Billy Russoti (Dominic West), Castle horribly disfigures the gangster in a firefight that also claims the life of undercover FBI Agent Nicky Donatelli. Seeking terrible vengeance, Russoti takes the name “Jigsaw” and begins recruiting the underworld’s most notorious criminals while Agent Paul Budiansky (Colin Salmon) joins with the sole member of the NYPD’s Punisher Task Force, Detective Martin Soap (Dash Mihok), in order to avenge his partner’s murder. However, Frank’s lethal mistake weighs on his conscience, and he is nearly ready to pack it in until he realizes the danger Angela Donatelli (Julie Benz) and her daughter are in. Now, The Punisher must find a way to elude the law and decimate a deadly crime army before more innocent lives are tragically ended.
First off, I really like that the filmmakers didn’t make this film another retread of the Punisher’s origin story. They instead chose for the Punisher to have already been operating for five years at the time of this story. Although, they surely weren’t going to gloss over that origin considering this was another reboot. We get tragic flashbacks to the aftermath of the Castle family’s slaying, and the story is briefly, yet poignantly told by Detective Soap to Agent Budiansky. We get the details on what happened, and even more impactful is noting the Punisher’s track record and body count. The entire basement of the police station is filled with files on every case, every murder involving the Punisher. There are literally thousands of them. This was a brilliant direction to go in to join Frank further down the road, and allow some perspective and reflection to enter into the equation of his character. This is no longer a man in the heat of his passionate revenge. This is a grim, weathered individual who is driven by his disdain for injustice, and has buried his soul deep down underneath all that pain and grief. That’s a fascinating route to go, and it works directly and purposefully into the story.
Fan reaction was that this film was very faithful to the Punisher MAX and Marvel Knights comic series with its gritty, yet over-the-top violence and vibrant color scheme. While I cannot comment on the accuracy of that sentiment, what I can say is that this is really what I’ve always felt a Punisher film should be. It is unrelentingly brutal with a generous helping of blood, gore, and violence, but with proper depth to its characters. The action sequences are slam bang amazing, even if they can tend to defy the laws of physics, at times. However, Punisher: War Zone is clearly geared towards a very comic book style, just based on the gorgeous cinematography. It is so vibrant, moody, gritty, and saturated with all the right colors that it often looks like it came straight off the pages of a comic book, and the action is indeed jacked up with that mentality. Just in the opening sequence, we’ve got a good dozen mobsters getting shot, slashed, and just laid to waste in graphic fashion. It sets an awesome, aggressive, relentless vibe for the whole movie which never disappoints or eases up. It puts you in the world of Frank Castle, and delves you right into his bleak, graphic state of mind. This is an action film that pulls no punches, and goes straight for the hard R rating all the way.
I also love how Castle moves and operates in the action scenes. It’s all very militaristic, but exceptionally nasty. No mercy, no prisoners – everyone dies. While the previous Punisher films had plenty of action and unique use of weaponry, this film employs tactics and strategy that feel very authentic. This is even more appropriate since this Frank Castle is actually revealed to have been a Marine. Dolph Lundgren’s was a former police officer, and Thomas Jane’s was a federal agent. I don’t know why it took a group of filmmakers so long to actually get Castle’s background correct, aside from the Vietnam aspect, but thankfully, it is well realized here in very subtle and clear details. It is very much ingrained in Frank’s mentalities and disciplines. Even his body armor reflects a man of vast wartime experience as it covers his torso up over his neck, and appears to be very heavy duty. Frank looks like a man waging a war as he’s always prepared with another weapon at hand, and has precise, razor sharp reflexes. This is a guy you’re going to have to massacre in order to stop, and he is not going to make that the least bit easy to do. I love the moment early on when he uses a pencil to reset his broken nose. That’s hardcore right there. Frank himself is immensely intimidating just by the sight of him. The slicked back black hair, beard stubble, and the obvious wear and age on Ray Stevenson’s face create a grim visage that says more than words ever could. And the signature white skull on the body armor is the final glorious touch to put the fear of death into any criminal.
Of course, I stand very firm in that Ray Stevenson was a brilliant casting choice for this character. I know Lundgren’s version had some sense of self-reflection, but I’m not familiar enough with Jane’s Punisher to know what he brought to it, depth wise. I just know that the film he starred in is one I cannot sit through. Here, Stevenson gives us every dimensional quality that could exist for Frank Castle. Yes, he is a hardcore bad ass that is unwaveringly lethal. Unlike most superheroes, The Punisher has no lines he won’t cross. If you’re a criminal, you will be punished. There is no gray area. It doesn’t matter if the cops are right there to arrest the criminal, he exacts his own brand of justice every time. The level of violence and carnage is absolutely appropriate for The Punisher. It is necessary to have in order to understand the emotional and psychological mindset of Frank Castle. The graphic violence he dishes out is the same which claimed the lives of his family. It explains why he is such a grim figure, what the definition of a vigilante truly is, why the cops and criminals fear him, and why neither want him on the streets. He is a man alone, and no one can truly understand him without seeing and feeling what it is he has gone through. Still, you see that he does feel things, and that he has a morality and a soul. Frank’s been emotionally shattered by the violent murder of his family, and that has resulted in a grim man with a lot of deep seeded pain, torment, and disdain. Ray Stevenson brings those powerful, realistic qualities to the surface, and it creates the real solid core of this film. The action, violence, and brutality are givens for a Punisher film, but it’s that serious depth of character which sets this film apart from its predecessors. You see the fractured remnants of the caring family man Frank once was, and it really penetrates for me. The story aspect of Frank accidentally killing an undercover cop instigates that deep exploration of his soul and heart, and creates an emotionally moving arc by the end with Julie Benz’s Angela Donatelli. Stevenson is absolutely everything that you’d want from your Frank Castle thespian. He handles the role with serious weight giving it credibility and humanity. It is the most three dimensional Punisher I have yet to be exposed to, and shows that the character is more than just a vigilante with a bad attitude. He has depth to spare, when put into the right creative hands.
Julie Benz is truly excellent as the grieving widow as she is not a wholly trembling mess. Angela is a cop’s wife, and has strength and conviction within her to survive through all she endures. There is a deep well of pain and emotion that pulsates through her performance. While she is strong, she is vulnerable nonetheless, and it’s a great mixture she puts together that can really be felt by an audience. I know Benz from her work as Darla on Buffy the Vampire Slayer & Angel, and so, her range of talent is not a surprise to me but is a great pleasure to witness. She shares some substantive scenes with Stevenson, and they both work beautifully together. The same goes for Stephanie Janusauskas who endearingly portrays the young and innocent Grace Donatelli. Stevenson’s scenes with her bring out Frank’s adoration he had for his own daughter, and is the most tender insights into Frank. Stephanie is wholly sweet showcasing some genuine talent that really forges an audience’s empathy for Grace.
Now, this film is easily divided up into two separate sections of quality. Everything that does not involve Jigsaw is tremendously bad ass and awesome. Unfortunately, almost everything that does involve Jigsaw is really ridiculous and silly. Now, Dominic West did a superb job with Billy Russoti. He was charismatic, threatening, a little intimidating, and a perfect fit for an Italian Mafioso. He had all the elements just right for this slick, underhanded villain. If he had remained as this character throughout the film, I think the tone would have been much more consistent and balanced. However, after he’s disfigured at the hands of the Punisher, that’s when we’re subjected to a very comical villain that poorly contrasts with the dark, heavy, serious tone of the film. Jigsaw becomes almost cartoonish in his behavior, attitude, and look through most of his screentime. He’s clearly overacting through those facial prosthetics, and it’s nothing but detrimental. There are better moments here and there, but in general, it’s the one major element that brings the film down for me. It’s not even like a Jack Nicholson Joker where he’s at least morbidly comical in his homicidal tendencies. Jigsaw is very much plucked out of a twisted cartoon concept where it’s difficult to take him seriously after a while. His criminal recruitment montage sequence is almost enough to force a face palm reaction. It’s not a purely bad performance, but there’s far more bad than there is good from Dominic West once he adopts the Jigsaw persona.
There is one semi-saving grace amongst the villains, and that’s Doug Hutchison as Looney Bin Jim. It’s a character strictly created for the movie, but his psychotic qualities really do help boost the threat level. He’s immensely agile and brutal, and thus, is able to take the fight right to Frank Castle near the film’s climax. In the least, the character gave Jigsaw someone to bounce off of, someone who feels like a trusted and capable right hand man, and that’s commendable for the filmmakers to have done. Hutchison is surely over-the-top in his own right, but for the character, it does work immensely better than for Jigsaw. It would have worked better had Jigsaw been a much more serious character and threat to create that contrast of Jim appearing far crazier.
The remainder of the cast is solid starting with Wayne Knight as Frank’s arsenal securing friend Micro. Knight does a fine job keeping the character enjoyable, but still dramatically poignant and sympathetic. He and Stevenson work very well together creating an honest, open relationship between Micro and Frank that feels genuine. Dash Mihok also does an exemplary job as the enthusiastic, innocent minded Detective Martin Soap. I liked the twist with the character about midway through the film. It’s very comical but terribly appropriate as it makes a fun kind of sense, and makes Soap appear more capable than he tends to appear. I really enjoyed the character, and Mihok made him endearing. On the more bad ass side, Colin Salmon is excellent as Agent Paul Budiansky. He’s a very take charge type of guy who doesn’t shy away from danger, and is deadest determined to haul in the Punisher no matter what. Salmon brings a lot of heart to the role, and the script gives him depth to work with as he owes Nicky Donatelli his life and career after Budiansky got hooked on narcotics. There’s a debt to repay, and he’s not going to take a backseat to anyone. Budiansky throws down with Frank, and with a guy of Salmon’s size at 6’4”, he absolutely looks like a guy who could hold his own against real bad dudes. Overall, this is a film with some mostly solid and dimensional performances that not enough comic book films strive for, but should. It’s easy for a lesser grade screenwriter or filmmaker to gloss over character depth in favor of spectacle or action, but that’s exactly when they’ve already failed. This film succeeds, and in many different ways.
I mentioned the cinematography a bit already, but I’d like to elaborate on it. While the film does have a very vibrant color palette, it is soaked in dark, shadowy environments. It has plenty of moodiness and atmosphere to spare. Even the daytime scenes are a little washed out to enhance that bleakness. The richest visual feast occurs in the church scene where Frank meets with Budiansky before the climax. This location is filled with brilliant colors, but has the added beauty of numerous lit candles. The scene has some exquisite depth of field and artistry to it that, while it fits solidly with the rest of the picture, gives this scene a special aura all its own. The action cinematography is excellent. There is absolutely zero shaky cam quick cut editing. The camera work is wholly competent going regularly for fluidity instead of chaotic motion. That shows there were some smart filmmakers behind this. They were able to give this film a unique style that is very comic book in nature while never becoming cliché or showy. It’s clever, sharp, and beautiful all around. Cinematographer Steve Gainer deserves a load of credit for making this film look so stunning, and director Lexi Alexander deserves credit for pushing for many of the stylistic composition choices. It all works to amazing effect.
And while this movie was shot in Québec, Canada, the filmmakers had enough perspective on the material to seamlessly integrate some excellent stock footage of New York. My favorite bit of this is when Frank’s standing on the rooftop and the Chrysler Building is over his shoulder in the distance. It was surely some sort of green screen shot, but when I saw this theatrically, I couldn’t tell that this movie wasn’t shot on location in Manhattan, New York. So far, this is the only Punisher film to actually have the film blatantly set in New York, and actually go to the extra effort to sell that illusion. That is something I cannot commend them enough. Nearly every Marvel superhero is based out of New York, but if there’s any one character from Marvel Comics that is a tonally perfect fit for the urban grit of New York, it is the Punisher.
Now, the music of the film is a bit divided for me. While I am a big heavy metal fan, I admit that it rarely has an appropriate place in a film. Most times, like in this film, it tends to be intrusive and a bit overblown. Maybe if these were songs from bands I actually liked, perhaps I’d be more welcoming of them. However, there is some great score performed by Michael Wandmacher. It brings out the dark, dangerous tone of the film, but also, highlights and enhances the moments of emotional depth and turmoil. It’s a very well rounded piece of work that perfectly complements this stellar film.
Aside from the comical elements of Jigsaw, I think Punisher: War Zone has a very solidly put together story and script. Every Punisher film that ever has and ever will be made is always going to have Frank unleashing an all-out assault on organized crime, but it’s what’s beyond that which makes such a film standout. Beyond the action and violence, this has some very strong emotional plot threads and character arcs. There are elements of guilt, grief, forgiveness, responsibility, revenge, and trust running through Frank, Angela, and Budiansky. These arcs are handled exceptionally well, and really flesh these characters out in a great way. Even Soap and Micro have their say in Frank’s struggle with his murder of Agent Donatelli. These aspects are treated with great care and are executed wonderfully. It’s also great seeing everyone’s different viewpoint on the Punisher. Some see him as a menace to be thwarted and condemned. Others consider what he does a service. The NYPD put together the “Punisher Task Force” as merely a public image joke as they mostly couldn’t care less about what trash the Punisher executes on the streets. This is evident by the fact that Detective Soap is the sole member of the task force, and the NYPD dumps Budiansky there just to brush him aside. How all these elements and characters converge and end up relying on the Punisher is smartly done, and really develop organically from the plotlines and character motivations.
The entire climax is just a magnificent onslaught. It’s the Punisher set loose massacring probably half the street criminals in New York, working his way through the Bradstreet Hotel to rescue Angela and Grace from Jigsaw’s clutches. The stunts are spectacular, and the sound design of all the different styles of gunfire and explosions as well as the crunching of bones and the splat of blood is just absolutely brutal. This is hardcore action all the way through. It is as unforgiving and merciless as the Punisher himself. Still, this climax has some emotional turmoil for Frank, but I won’t spoil a thing for you. Simply said, it has resonance and weight to it that add to the dramatic realism that the film is so rich with.
All in all, this is definitely the Punisher movie that strived to do the most with its characters and concepts, and it succeed in nearly every regard. I do love the movie very much, but the fact that Jigsaw is a ridiculously comical villain you can almost never take seriously does negatively impact the film. It doesn’t kill Punisher: War Zone, however, because everything outside of Jigsaw is so amazingly good that it’s near impossible to topple it with one bad performance. Ray Stevenson is hugely blockbuster in his portrayal of Frank Castle. He brings so much depth and pure bad assery that it would be a steep mountain to climb to top or rival him. He makes the Punisher a character that could thrive on the big screen, and that is also largely due to director Lexi Alexander. She showed a massive wealth of talent here as well as the ability for a vibrant, hard-hitting, and compelling vision. So many action films today come off as lackluster carbon copies of the last big theatrical hit that it’s invigorating to see someone inject some fresh style and depth into the genre. We’ve been treated to many great comic book movies over the last several years, and so, the standards have gotten pretty high. In my mind, I truly believe that Punisher: War Zone just about reaches that standard. The only major element that a Punisher movie needs at this point is a rock solid villain that’s worthy of squaring off against the Punisher. So far, I don’t feel we’ve gotten that, and it is the only real failing of this movie. For my parting words, let me just say that the last moments of the film are just flat out bad ass! The very final shot is perfectly iconic and foreboding. Ray Stevenson is my quintessential Punisher, and there is just not enough I can say about his detailed and awesome performance to do it justice. Punisher: War Zone gets a damn strong recommendation from me.
The short version of this review if that The Amazing Spider-Man is a pretty damn good film. I liked it. Now, I fell off from being a fan of Sam Raimi’s Spider-Man movies. The first one was okay, but very cartoonish. The first sequel is something I passionately hate, and have no desire to ever subject myself to it again. Thus, I never bothered with the third film. That made the news of a reboot immensely pleasing to me. I was very excited to see all that muck washed away, and allow a new filmmaker to start with a clean slate. Mainly, what I like about this movie is how character driven it is, and how well developed the emotional qualities of it are. Instead of a very self-pitying Peter Parker, we get one that feels like the character I’ve wanted to see, and is one that is highly enjoyable to invest myself in.
Peter Parker (Andrew Garfield) is an outcast high schooler who was abandoned by his parents as a boy, leaving him to be raised by his Uncle Ben (Martin Sheen) and Aunt May (Sally Field). Like most teenagers, Peter is trying to figure out who he is and how he got to be the person he is today. Peter is also finding his way with his first high school crush, Gwen Stacy (Emma Stone), and together, they struggle with love, commitment, and secrets. As Peter discovers a mysterious briefcase that belonged to his father, he begins a quest to understand his parents’ disappearance – leading him directly to OsCorp and the lab of Dr. Curt Connors (Rhys Ifans), his father’s former partner. As Spider-Man is set on a collision course with Connors’ alter-ego, The Lizard, Peter will make life-altering choices to use his powers and shape his destiny to become a hero.
I want to start out with the tone of this film. Some may have labeled it a “darker” approach, but that is an incorrect term. This is a serious, dramatic approach to the character with substantive depth. However, that doesn’t mean it is not fun. In fact, this is a very fun movie that finally gives us the witty, charismatic Spider-Man that was sorely absent in the previous three films. There is a scene where Spidey to webbing a criminal to a brick wall, and the Web-slinger is spouting off the funniest wisecracks which never border on campy or cheesy. Spidey’s never been an intimidation type of hero like Batman or the Punisher. He uses his sharp wit and humor to throw his adversaries off balance, but most importantly, it shows that Peter Parker is having a lot of fun being Spider-Man.
The more dramatic tone is handled exceptionally well by director Marc Webb. The character is treated with love, respect, and integrity. The relationship between Peter and Gwen is very heartfelt, and never shies away from Peter’s understandable awkwardness. It makes the character endearing and likeable. Andrew Garfield and Emma Stone have solid chemistry making every loving moment magical. Of course, the emotional resonance for Peter goes deeper and further than this. When Peter loses loved ones in the film, it deeply penetrates through the screen. The connection and mystery surrounding his parents’ death is the linchpin of Peter’s story here. It’s what drives him forward through the narrative, and causes a lot of heartache and emotional pain for him. He’s sad, angry, and curious about it at different points in the film. Both Webb and Garfield make Peter’s pain strongly relatable and sympathetic. It pours out even stronger after what happens to his Uncle Ben, which is handled with similar circumstances as in the original comics.
Marc Webb and the screenwriters made some smart choices in presenting a similar yet slightly different origin for Spider-Man. Long standing events in the character’s origin still exist, but are simply given a different environment. Same general context, but presented in a way to not be carbon copies of what was done in the Sam Raimi Spider-Man. These sequences entirely retain the purpose and resonance they’ve always have, but we just get to see a different take on how they happen. For instance, Peter gets bitten by the genetically altered spider because he goes snooping around OsCorp seeking answers on his father. It’s not a pure chance that’s he’s at the lab. Specific actions are taken by Peter to place himself in that situation, and Spider-Man is born out of it. Again, these events are driven by character motivations. They are plot elements that link back up with one another and tangle up quite nicely.
I love the newly designed costume. Admittedly, I’m more of a general Spider-Man fan, not a die hard one. So, I felt that Spidey’s costume could use a little updating, and this fits the bill very well. The costume slowly comes together as Peter refines how he operates. I also love how the web-shooters come about. Sam Raimi decided to make them organic in his films because he didn’t think it was believable that Peter Parker could create an adhesive that some big corporation couldn’t invent. Here, it is invented by a big corporation – OsCorp – and Peter merely obtains a supply of the material. That’s a brilliantly simple solution. The mechanical shooters, however, are his creation.
The overall look of the film maintains that dramatic tone with a rich color scheme and respectably moody lighting. Cinematographer John Schwartzman really does a fine job giving weight and beauty to the dramatic character scenes, and plenty of rousing, exciting camera work to the action sequences. It looks like a big movie. As always, I only go see the 2D versions, but I can see a few sequences theoretically turning out rather impressively in 3D, especially the Spidey point of view shots when he’s web-slinging. There are plenty of dynamic and big shots in the action sequences to give your eyes a pleasant visual feast. Complementing that is James Horner’s gorgeous score. He’s done scores I’ve not cared much for, but he’s also done some wondrous work that I think highly of. He does an exceptionally strong job here giving the film both its poignant emotional moments and its big heroic themes. Marc Webb really pulled together all the right elements to encapsulate a cohesive tone overall.
And yes, Andrew Garfield is stellar in this role. I like his take on the character. He’s not some lowly geek with no spine. He’s much more modern as a teenager who has a good heart and the desire to stand up to the bully in Flash Thompson, but just doesn’t have what it takes to physically or confidently take a stand. He can be a little socially awkward here and there, but you can see his heart and charm shine through. Garfield brings out a fully dimensional character that I truly felt for throughout the movie. It’s a character journey where Peter has to come to grips with a lot of emotional struggles, and to grasp onto his responsibilities. He helped Curt Connors find the missing equation that allowed him to become this mutated menace, and Peter knows he has to clean up his own mistakes. As it has to be said, Garfield AMAZINGLY handles all these diverse aspects from the socially awkward to the heartfelt teenager in love to the emotionally hurting to the humorous wise cracker to the inspiring hero. He is truly a rock solid fit for this character, and a substantive actor who can carry this franchise for a long time to come.
Emma Stone is equally as good. She has talent to spare that makes an audience take investment in Gwen Stacy. She’s a loving, caring, well rounded character brought to textured life by Stone. She is beautiful and intelligent, making it no wonder why Peter Parker would be so fully taken by her. I know that, in the comics, Gwen Stacy is killed by one of Spider-Man’s villains, but frankly, with an actress of this quality and breadth of talent, it would be foolish to dispose of her in any soon-to-come sequel. Again, she has glorious chemistry with Andrew Garfield, and this film definitely takes its time to develop their loving relationship. I hope to see it grow and flourish in any sequels Columbia Pictures chooses to make.
I also very much liked what Denis Leary did with Captain George Stacy. Leary easily could’ve slipped into an area of comedy with his line deliveries, harkening to his role on Rescue Me with cynicism and such. However, he keeps it restrained. Leary has impressed me vastly with some dramatic roles in the past while also balancing humor such as in Suicide Kings. Here, he keeps Captain Stacy a respectable man with a serious, focused mind. He makes the character strong and pertinent as well as showing us some heart along the way. It’s very exceptional that so many characters are given noticeable development as the film progresses.
I even like how Flash Thompson is given some development. At first, he’s the usual hard ass bully muscling people around, but he’s given a few scenes where he softens a little. He expresses compassion for Peter’s loss, and even sort of kids around with him at the film’s end. That’s such an excellent touch to not make Thompson a one dimensional convenience. So many times, a bully is just a shallow foil for the hero to overcome. Here, we see that he is a human being with the capacity for being more than just a jerk. That’s very nice work by the filmmakers with excellent execution by actor Chris Zylka.
Greatly compelling in the role of Dr. Curt Connors is Rhys Ifans. He’s an intelligent character who slowly becomes more obsessed with his increasingly crazed machinations. Once he’s injected with that serum, it begins to change him both biologically and psychologically. Ifans goes from a fascinating, if distant character to much more unnerving and intimidating. It’s a rather subtle performance he puts in, never trying to go over the top. It entirely goes with the film’s general tone, and surely builds Connors up to being threatening as his psychological state becomes more unhinged.
Lastly with the cast we have Martin Sheen and Sally Field as Uncle Ben and Aunt May Parker. I really, really liked them in these roles. Sheen conveys the feeling of a surrogate parent doing the absolute best he can to be as good as Peter’s own father. He’s compassionate and understanding, but also, stern when called for. With the limited screentime he has, he creates a character that can resonate with an audience through Peter’s perspective. Sally Field gives Aunt May a more modern sensibility than how the character is usually portrayed as some soft, grandmotherly type. Field still gives her vulnerability and compassion, but feels like a parent most can relate to. She has some spirit, humor, and inner strength that I very much admired.
I really just enjoyed how everything felt more contemporary here. Characters felt like products of the world we live in, and have realistic depth. It’s a long period of time before Peter Parker dons a costume in this because a lot of time is taken to develop the characters and the context of the world they inhabit. It all feels very rich and dimensional. This now feels like a film franchise that can have many layers to it that is not so action dependent. It can create a compelling story driven by the characters and their emotional states. Marc Webb definitely leaves the mystery about Peter’s parents open to be further explored and unraveled in another film or two. There is a single scene just after the start of the end credits featuring Dr. Connors speaking to this effect with an unidentified character. It’s a definite tease that keeps that storyline in the forefront of the minds of the audience. I also like how Norman Osborn is continually mentioned, but never shown. This sets up an unknown reveal of if and how the Green Goblin may enter into this franchise.
The visual effects are pretty good. There’s a lot of really good stuff, and some effects that could still be better. The Lizard himself can seem a tad lacking in the seamless realism. Granted, it’s difficult to make a nearly seven foot tall Lizard appear realistic, but I just felt that it didn’t always interact well with its real world surroundings. It could be a little cartoonish, especially when tumbling around with Spider-Man at times. However, it never soured the movie to me. Admittedly, the digital creation looks better in darker environments such as the sewers or nighttime exteriors, and that’s mostly where we see him. Thankfully, essentially everything with Spider-Man as a digital effect is practically seamless. I wasn’t so sold on it from the trailers, but in the film itself, I really can’t see any difference. The motion of the character remains consistent with realistic weight given to his movements. No loss of texture was evident to my eyes, either.
The action sequences tend to be very smart. It’s very much making great use of Spidey’s various powers, and the environments they are set in. I immensely loved the subway car scene where Peter is first discovering his powers, by accident. You see the Spidey Sense in action as he reacts instinctually to threats and showcases his speed, agility, and strength without even realizing what he’s doing. It’s also a rather funny sense as Peter unintentionally assaults some troublemaking subway riders. There is a sequence showing Peter being overwhelmed by these strong powers, but he slowly reigns them in as he gets more comfortable having them. It’s handled with some wit and humor along the way. More dire action scenes really demonstrate the great dynamic between the Lizard and Spider-Man. The former has the strength and size advantage, but that just forces Spidey to be more inventive and strategic in how he battles this foe. The climax of the film is very well handled entirely shying away from the worn out “damsel in distress” scenario, and going with something far more organic from the plot that has more dire consequences for the whole city of New York.
However, as I said, this is a character driven story, and the film doesn’t end two minutes after the action climax. It takes what time it needs to tie off the emotional and character threads that the film spent so much careful time developing. I really, really like that, and it’s qualities like that which really elevate this film for me. While I wasn’t astounded or floored by the film as a massively exciting experience, I found more value in that it was structured around character and the intent on building a deep, rich palette to draw upon for stories with more emotional depth and resonance than what was given to us previously. I can definitely see some people not quite liking this film so much as does feel like a 136 minute film with its more easy pace. It is a film that takes its time, but balances the drama with plenty of fun.
If Sam Raimi’s Spider-Man 3 was the equivalent of Joel Schumacher’s Batman & Robin, then The Amazing Spider-Man is the Batman Begins equivalent for this franchise. I give The Amazing Spider-Man high praise and a wholehearted recommendation. I was disappointed that The Avengers had such a weak plot and a totally stock villainous force with no emotional depth or character development. This is just the opposite as I came to care for practically every pertinent character on screen because the writing was so strong and the direction was very strong and deeply impressive. The story is injected with plenty of substance with beautiful chemistry from its romantic leads. It never gets lazy by falling into clichés, and is intent on being fresh and weighty with a nice sense of fun. The more I think of it, the more I love what this movie has to offer. I wholly believe it is worth your time to experience it. While it doesn’t have as much big action punch as The Avengers, I damn well enjoyed The Amazing Spider-Man a hell of a lot more. It feels like a full, fleshed out film with a world of possibilities to explore in subsequent entries. I just hope most of the audience can see the value in it that I do because I really want to see more of this Spider-Man.