Spider-Man 2: More Is (Much) Less

The overstuffed sequel to Marc Webb's 2012 reboot collapses under its own weight.
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Columbia

Some among you will be too young to remember, but I can still recall way back in the day when we all had to walk to school through the snow (uphill both ways), when a shave and a haircut cost two bits, when goilz were goilz and men were men, and when Tobey Maguire starred in Spider-Man movies directed by Sam Raimi.

I broke with the prevailing consensus back then, greatly preferring Spider-Man to the ubiquitous recyclings of Spider-Man 2. But I think everyone can agree that it wasn't until the concluding chapter of  Raimi’s trilogy that the wheels came off altogether: too many villains, too many storylines, too much everything.

Two years ago, when director Marc Webb offered his premature reboot of the franchise, he seemed at least to understand where the previous trilogy had gone wrong. The Amazing Spider-Man may have been a wildly redundant enterprise, but Webb—along with his stars Andrew Garfield and Emma Stone—at least re-discovered the proper scale and focus of the subject, delivering a film imbued with improbable charm.

His sequel, alas, exhibits almost none of its predecessor’s virtues. The Amazing Spider-Man 2 is a lumbering mess, so overstuffed with plot devices that it smothers even the complementing charismas of Garfield and Stone. About the best thing one can say about this fiasco is that Webb has taken only two films to reach the same exhausted, exhausting endpoint that Raimi required three to achieve. It’s progress, of a sort.

In keeping with its overall strategy of ostentatious decline, the movie opens with arguably the least appealing element of the initial reboot, and proceeds to make it far worse. I refer to the newfangled backstory in which Peter Parker’s father (Campbell Scott) was a brilliant genetic researcher for Oscorp, the multinational company whence all dangerous scientific breakthroughs emerge in the Spider-verse. Realizing his work could be put to nefarious ends, Parker destroyed it and, along with Peter’s mother (Embeth Davidtz), fled Oscorp’s wrath, abandoning young Peter to be raised by his Uncle Ben and Aunt May. This time out, we actually see the couple’s flight, both figurative and literal: the private jet on which they attempt to stage their escape to Switzerland (paid for by whom, exactly?); the mid-flight assassination attempt that is all but identical to a dozens of scenes from earlier films (do you know what happens when you fire a handgun inside the pressurized compartment of an airplane? of course you do); and Parker pere's down-to-the-last-second effort to upload invaluable data from his laptop to … no, you wouldn’t believe me if I told you.

By the time we actually get to the present day, with Spider-Man (Garfield) once again looping his way through the urban canyons of Manhattan, Webb’s film is already running a substantial goodwill deficit. And it’s only going to get worse. This movie’s Basically Decent Guy Who’s Involved In An Accident At Oscorp That Gives Him Superpowers While Turning Him Evil—well, the first one, there will be another later on—is Max Dillon (Jamie Foxx), a mild-mannered loser who works in the engineering department. (We know he’s a loser because he refers to himself as “a nobody”; because his boss treats him like dirt; and most of all because Foxx is saddled with unstylish glasses and gap teeth.) Following an unfortunate encounter with a live power line and some electric eels (yes, electric eels), Max is reborn as "Electro" and proceeds to go make a spectacle of himself in Times Square.

Meanwhile, Peter’s best friend, Harry Osborne (Dane DeHaan) has reappeared after a long stint at boarding school. Harry will be familiar to viewers of the Raimi films (in which he was played by James Franco), but not to viewers of the first Webb movie, in which he was not mentioned. And indeed, the deep friendship between him and Peter, though emphatically stated, is never much in evidence. No matter: Soon enough he’ll be Green-Goblinizing himself just like his predecessor, albeit on an accelerated timetable. This Harry, too, is an ill-tempered whiskey drinker, though the specific brand is no longer designated, Maker’s Mark having evidently concluded that “The Bourbon of Psychopaths” was not such a great product placement after all.

As for Peter’s love life, he and Gwen Stacy (Stone) have moved beyond the adorable flirtation phase into the phase where they argue over whether they love each other so much that they have to be together or they love each other so much that they have to stay apart. This also is not an improvement.

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Christopher Orr is a senior editor and the principal film critic at The Atlantic. He has written on movies for The New Republic, LA Weekly, Salon, and The New York Sun, and has worked as an editor for numerous publications.

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