Spider-Man Movie Review

With great power comes great responsibility… & with a Green Goblin comes absolute chaos. So, swing with me through my review of 2002’s Spider-Man.

Genre: Action / Fantasy /Sci-Fi 

Director: Sam Raimi

Cast: Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Rosemary Harris, J.K. Simmons, Cliff Robertson, Joe Mangianello, Elizabeth Banks, & Bruce Campbell.

Run Time: 121 min.

US Release: 03 May 2002

UK Release: 14 June 2002

German Release: 06 June 2002

Since a painful leg injury I sustained while playing football is forcing me to stay at home for the next couple of weeks, I decided to follow up on some reviews I wanted to write for older releases. 

With Venom and Spider-Man: Into the Spider-Verse scheduled to come out later this year, it is the perfect time to revisit the two Spider-Man movie-verses (Raimi and Webb). Spider-Man is one of my two all-time favourite heroes next to Batman. Back in the day, when I heard that there was a film being made, my teenage self went ballistic. Sadly, I never managed to see it in cinemas; my parents weren’t too keen to waste their time sitting in the cinema watching the wall crawler on screen for two hours. A year later, I managed to catch up on it while on a date with a girl who had the DVD at home, and I was fascinated by it!

— WARNING, THIS REVIEW CONTAINS SPOILERS! —

When the intelligent yet socially outcast Peter Parker is bitten by a genetically altered spider during a school field trip, he is gifted with wall-crawling abilities, super reflexes, as well as superhuman strength. Meanwhile, Oscorp CEO Norman Osborn tests an unstable performance-enhancing formula on himself to save a military contract. The chemical gives him super strength, though it shatters his mind, giving birth to the deranged Green Goblin.

At first, Peter uses his new abilities to make money, so he can impress his neighbour and secret crush, Mary Jane Watson. However, when a wrestling promoter cheats him out of his winnings, Parker lets a thief get away in vengeance, who goes on to kill his uncle Ben. Heartbroken by this loss, Peter takes on the secret identity of Spider-Man, vowing to protect New York City. Months later, he comes face-to-face with the Green Goblin, who figures out the hero's secret and targets his loved ones.

Taken from Cameron’s darker script, which he wrote when he was signed as director back in the early 90s, before being cancelled altogether due to legal and financial disputes. That said, David Koepp, screenwriter of the 2002 superhero blockbuster, used Cameron’s treatment as inspiration for his drafts. Thus, several plot and character beats made it into the film, just like the organic web-shooters and puberty metaphors for Peter’s mutant changes.

Much like 2000’s X-Men, Spider-Man was a big influence for the modern superhero subgenre of cinema. The story and dialogue reflect an era in which these movies were transitioning from cheesy pulp flicks to grittier, grounded blockbusters. This is expertly demonstrated by the balanced three-act structure that lends the picture a smooth pace as it transitions from Peter’s before his powers, his misuse of the gifts he was given, to the tragic events that pushed him towards heroism.

The core message about responsibility perfectly mirrors that of the comics, merged into every central segment of the narrative. This, in turn, makes Spider-Man so approachable to the audience, as they witness every painful sacrifice he needs to make to protect his loved ones. The choice to implement Cameron’s idea of organic webshooters steers away from comic lore, yet makes sense for this adaptation.

That said, the screenplay also relies heavily on coincidental factors to move forward and over-the-top campy segments, such as the romantic angle between Mary Jane and Peter, which is too melodramatic. Especially, some of the dialogue can sound too comic-bookish, breaking the immersion. That said, J. Jonah Jameson’s energetic wit and Spidey’s banter infuse the plot with some well-earned comedic timing.

I was never the biggest fan of Tobey Maguire as Peter Parker. He always had a wimpering facial expression as Peter Parker that was hard to watch. That said, his interpretation of the web-slinger is immaculate. Best is the relationship established with Norman Osbourne as his surrogate father figure, which ends in another tragedy. Willem Dafoe gives an incredible theatrical performance as the tragic “Jackyll and Hyde” villain Green Goblin, aka Norman Osbourne. Unfortunately, his facial expression is trapped behind that rigid plastic mask.

James Franco, as Harry Osbourne - Peter’s best friend and Norman’s son - is at times a little too awkward. However, his character serves a deeper purpose as it gives the narrative deeper personal stakes. Playing Mary Jane Watson is Kirsten Dunst, who is unfortunately reduced to a mere plot device, as the romantic damsel in distress.

Rosemary Harris and Cliff Robertson are the emotionally grounding anchor of the premise. Their portrayals of Aunt May and Uncle Ben are warm plus loving, while Robertson’s citation of the hero’s mantra cemented the phrase in global pop culture. 

J.K. Simmons is possibly my favourite casting choice of any comic book adaptation. He captured the cynical, cigar-smoking, quick-witted character of J. Jonah Jameson immaculately. 

The cinematography is gorgeous to behold. The wide-lens shots of New York romanticise the city, turning it into a breathing, living character of its own. The web-swinging scenes make use of Raimi’s signature kinetic camera style, even including some of his horror visual elements, while the creative transitions between scenes feel like flipping comic book pages.

The VFX, on the other hand, can feel a little dated even back then. While the practical effects department managed to create jaw-dropping, realistic-looking segments, the fully digitally rendered bodies of the web-head and the Green Goblin look like rubber men, videogame characters. 

Danny Elfman returns to collaborate with Raimi, creating one of the most memorable superhero soundtracks. The music merges big orchestral wonder with painful heroic sacrifice.

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Verdict: Sam Raimi’s superhero-blockbuster is a milestone in comic book cinema, setting the path for the modern, grittier features of the subgenre. David Koepp used Cameron’s script treatment as a blueprint, taking core elements of the story while turning it into a more faithful adaptation. The theme of responsibility, just like Peter’s mutating powers, as a metaphor for puberty are woven fantastically into the premise. That said, the sappy romance, as well as some of the corny jokes, do not really stick the landing. The pacing is flawless, though it relies too much on convenience. Tobey Maguire portrays Spider-Man with a lot of charm, while Willem Dafoe gives a masterful rendition as the maniacal Goblin. Simmons as J. Jonah Jameson is by far the best casting choice, while Kirsten Dunst is stuck in a one-dimensional role as the damsel in constant distress. The cinematography is superb, but the CGI is dated. Spider-Man holds a special place in my heart and is significant in cinema history. It isn’t perfect, though - a 7.5 out of 10.

Do you remember your first watch of the web-slinger’s first big-screen outing? Let me know in the comments & let me know if you agree with my review. As always, thank you for reading!