The Amazing Spiderman

 As a concept, Spiderman works. It works not because of his unique super powers or the villains he fights (although these do help), but because he’s a teenager. Unlike any other popular superhero in the Marvel or DC universe, Spiderman is a teenager and this is what makes him so enjoyable to watch; however improbable the idea of mutating into a web-slinging gymnast sounds, the fact that he is a teenager makes him extremely relatable – he fights crime, worries about girls and does his homework all in the same day. For example, Bruce Banner (The Hulk) is a nuclear physicist. Who can properly relate to that? Only a nuclear physicist of course. I’m not saying that just because someone has a different profession to you, you won’t be able to connect on an emotional level – of course you will, but the point is that everyone has been a teenager at some time in their life and that most people have been to high school, so as a character he instantly becomes very easy to like.

 The Amazing Spiderman rewinds the story, starts again; different actors, different director (Marc Webb – appropriate name). The basics are still there, teenager Peter Parker, aspiring photographer, attends Midtown high school in New York City. We’ve got the caring and understanding uncle and aunt, the love interest, even Norman Osbourne (the Green Goblin from the original) is around somewhere. 

 The differences are many. Played by Andrew Garfield, Peter Parker is now attractive as well as being an intelligent outcast and he seems to be much more confident in the face of his peers - bullies and girls alike. The relationship with his uncle and aunt is a lot more drawn out, as is the connection with his dead parents. In their review, Empire stressed how The Amazing Spiderman is ‘a rare comic-book flick that is better at examining relationships than superheroism’, and yes, they’re right this time. Unlike Raimi’s original Spiderman, this film examines closely the consequences of Peter becoming the hero, how it affects the people around him and more importantly, what it does to himself. 

 It’s a very good film – certainly not as derivative as you would expect it to be; there are no upside down kisses, no webs shooting from wrists (he has to invent those himself) and no ‘with great power comes great responsibility’ lines. And it’s funny, too, almost in a Kick Ass sort of way – Andrew Garfield is definitely enjoying himself in this role, and he’s fantastic at it. I wouldn’t say it’s a step up from the roles he’s had in The Social Network or Never Let Me Go, but his consistency is to be approved of.

 Of course there are flaws. The villain is not exactly brilliant; compared to the likes of the Green Goblin, Doc Oc or Venom, The Lizard is substandard. Rhys Ifans plays one armed scientist Dr Curt Connors (who also appears several times in the original trilogy) who injects himself one evening with a gene mutation serum in the hope of growing his arm back, but ends up transforming into a 600lb version of Godzilla that can regrow amputated limbs. Why is he the villain? What’s his motive? He wants to turn the whole of NYC into giant lizards – why? Because he’s angry that he himself is a lizard? It doesn’t make sense – someone please clear this up. Also, isn’t it odd that in both versions of the film, it isn’t explained properly how he obtained his costume? Surely a 17 year old isn’t capable of creating a flexible, breathable superhero costume?

 Overall, however, it’s a very satisfying film. Not up to the standard of Nolan’s Batman films of course, but it beats Avengers Assemble any day. Marc Webb shows he can do a lot more than just music videos and romantic comedies – thank goodness a sequel is already scheduled for 2014.