***½/**** Image A+ Sound A+ Extras A-
starring Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church
screenplay by Sam Raimi & Ivan Raimi and Alvin Sargent
directed by Sam Raimi
by Walter Chaw It’s hard for me at this point to look at the Spider-Man franchise literally. Literally, after all, it’s riddled with inconsistencies, plot holes the size of Buicks, abrupt shifts in tone, important subplots given short shrift, and on and on. But as iconography, as allegory (who can forget the timeliness of the first film’s 9/11 parable?), as an essentially self-aware product of our image-ravenous culture, it achieves a kind of spectral, magical grace. Though I prefer the personal evolution of the second picture (and the third Harry Potter film for the same reasons), the trying-on and jettisoning of father figures along the path of boy-into-man, there are moments in Spider-Man 3 so supremely well-crafted as visual poetry, so gloriously tangled and knotty, that they batter defenses raised against another Iraq War tale of unimaginable losses and the cold comfort of vengeance. The whole of the film is a case of rolling with the punches, really, of choosing early whether to hang with director Sam Raimi’s sense of broad slapstick melodrama and greeting-card symbolism or reject it as incoherent, populist mugging. If you accept its roundhouse swings and Evil Dead-era zooms at face value, though, it has for you in return a moment where something struggles to be born, but can only finish its nascence with the help of an image of its sick daughter; a breathless action sequence that revolves around the recovery of a sentimental artifact; and, as a bonus, a “Three Stooges” bit where old pal Bruce Campbell plays an unctuous, over-eager maître d’.
by Walter Chaw
by Walter Chaw