The "H" is "O", people. Sam Raimi delivers his finest work since DARKMAN or - maybe, just maybe! - ARMY OF DARKNESS?
BOX OFFICE DOMINATION BEGINS JUNE 2003. I WILL BUY AT LEAST TEN TICKETS FOR THY LORD AND SAVIOR.
I am Hercules!!
Everythings still all kinda rerunny on the TV side of Aint It Cool, so Im suddenly seeing a lot of movies, biding my time before CBS trots out Big Brother, my shameful and all-consuming summer obsession.
Heres what Ive learned in the meantime, o my brothers:
Spider-Man 2
As a character-driven action film, Spider-Man 2 rates right up there with the likes of Die Hard and Aliens and the Terminator movies and The Empire Strikes Back. I cant wait to see it again, it will be the biggest movie of the year, and I think it could even end up outgrossing Titanic. Its got everything the first film had and more.
In broad strokes, its plot is weirdly parallel to the one employed by Superman II. It deals with a guy who ditches his superpowers to accommodate the girl he likes, then winds up re-embracing his superhumanity when the same girl is imperiled by grudge-bearing supervillainy. But where Clark Kents decision was a deliberate one, Peter Parkers seems to be steered by the subconscious.
Part one felt very much like a film Sam Raimi directed, but this second installment feels like something Raimi generated from scratch. It feels like something the guy who made Darkman and Army of Darkness would write and direct if you gave him free rein and a towering pile of cash. Its pacing rivals Raiders of the Lost Ark. The action scenes are generally much more exciting and less obligatory. The elevated train fight is frightening and suspenseful and ultimately pretty moving.
Genius-level comedy abounds, but the exchange with Bruce Campbell is show-stopper. So is the Im back! scene. Peter Parkers newspaper boss, J. Jonah Jameson, is more sharply drawn this time around and every single scene he visits is a comic home-run.
We also get a huuuuge bad-guy upgrade. If the Green Goblin had perhaps worn out his welcome at junctures, Otto Octavius seems to be utilized much more pointedly, and sparingly. His mechanized arms are scary and cool and sometimes pretty amusing, and the way in which theyre attached to the doctors spine (as demonstrated in those unfortunate TV commercials) is both convincing and quietly horrifying. Were left wanting more.
The ending is happier, I think, and more satisfying. There are loads of great surprises, and none greater than the last big one, which is a sort of a gigantor double-surprise. If someone even hints about what it is in talkback, know that banishment will ensue.
*****
BOX OFFICE DOMINATION BEGINS JUNE 2003. I WILL BUY AT LEAST TEN TICKETS FOR THY LORD AND SAVIOR.