Reviewed by Darren Bevan

IN ALL THE pre-publicity leading up until the launch of Spiderman 3, stars Tobey Maguire, Kirsten Dunst and director Sam Raimi said they felt like they were done with the franchise. While that sent worrying ripples throughout the fan world, having now seen the film, it’s understandable how – and why – the gang want to move on. It’s not that there’s anything inherently wrong with it – it’s just that it feels distinctly unsatisfactory and is lacking the rich complexity of its predecessors.


Spiderman 3 begins with web head a beloved figure of New York City – everyone wants a piece of his swinging action. Things are good for Peter Parker, and they seem on the up for his girl Mary Jane who’s starring in a Broadway musical. So much so, Pete decides now is the time to pop the question to long-termer MJ.

But everyone knows misery is best for comic book heroes, and within minutes, Peter’s attacked by Harry Osborn (James Franco), the souped up son of the Green Goblin, desperate to kill Peter and avenge his dad’s death from the first film. That ends in near tragedy with Harry suffering from amnesia – something Peter is content with as it means a resolution to the Osborn vendetta.

While that’s going on, MJ loses her role on Broadway after terrible reviews and her attempts to turn to Peter for comfort are overshadowed by his glib responses over how the world will come to love her – just like Spidey is loved now.

Jealousy appears to be the key to this film – MJ’s burgeoning friendship with Harry threatens Peter’s happiness and brings out his insecurity. To make matters worse, police tell him and Aunt May they got the wrong man for Uncle Ben’s death and his killer, Flint Marko (Hayden Church), is now back on the streets. As things start to go from bad to worse for Peter, his position as top photographer at the Daily Bugle are threatened by newcomer, Eddie Brock (Grace) who’s desperate to snag a staff position from under Parker’s nose.

All of these negative feelings simmer under but are suddenly brought to the fore by the arrival of an alien meter rock and its black goo which transforms the red and blue of Spidey to the dark black suit fanboys were so desperate to see.

That’s when the metamorphosis begins, with Spider-Emo emerging as Peter Parker’s cockiness starts to eat up what’s good from within his own soul.

And it’s here the film starts to lose its way as it teeters dangerously on the verge of parody as Peter struts his Bee-Gee-esque behaviour down the streets and even takes part in a dance number in a jazz cafe where MJ’s been forced to work. It’s almost as if Raimi felt confined by what he set out to do and decided he had to subvert the genre just because he could.

That’s not to say the film’s not got its highlights – the chase/fight scenes are incredibly well done and blur past the New York skyline. Hayden Church’s performance is underplayed and subtle – making his transformation into the Sandman and his motivations for wreaking havoc all the more tragic. Plus the appearance of comic book canon Venom, the evil side of the black suited symbiote, is welcome – but far too brief coming nearly two hours into a 140 minute film.

The problem is the storylines are too diluted at the expense of each other and don't really pack the emotional punch they should – I wasn’t overly impressed by the deus ex machina end of the film as one character’s entire behaviour is over-turned by a ridiculous piece of exposition which wouldn’t have been out of place in the original Spiderman.

And for the geeks out there, don’t worry – both Stan Lee and long time screen Raimi favourite Bruce Campbell get their obligatory cameos.

Overall though, the promised darkness of the film doesn’t deliver as it’s souped up by Hollywood schmaltz – personified in one hideous moment as Spiderman swings past the American Flag.

A disappointment – but not a complete disaster.