In the summer of 2002, Spider-Man stood out. Forget the huge, almost inexplicable numbers catapulting Spidey to the largest opening of all time (and still champion). What was even more astounding was that we had been delivered a spectacular summer blockbuster that actually satisfied both the heart, the intellect and whatever that other thing is that makes you happy when Kirsten Dunst smiles and a villain gets impaled by his own hover-scooter. Such dog day treats have been few and far between over the last few years.

Back when we met Peter Parker, a high school dweeb played with impressive comic gusto by Tobey Maguire, he was merely the four eyed apple of his old aunt and uncle’s four eyes. We protectively watched him wrestle with puberty (and Macho Man Randy Savage), awkwardly crushing on his sweet neighbor, MJ (Dunst), fumbling in the shadow of his millionaire pal, Harry Osborn (James Franco), bumbling at his photography job under crazed J. Jonah Jameson (J.K. Simmons)…all while mutating into a hero with spider-like abilities. And therein is the miracle of the movie Sam Raimi bestowed. This was not just a film about how cool can we make it look as a guy wearing red and blue tights swings via corded webs through the skyscrapers of Manhattan; it was about the classic Marvel comic characters themselves. Raimi merely put flesh and added animation to the already viable (yet fantastic) universe Stan Lee had created for Marvel beginning in the 1960s

To say that Spider-Man 2 is better than the first would not do the picture justice. I can safely say that this continuation (“sequel” is too dirty a word) is so dead on in its ability to blend wonderful comedy, mind-blowing action, touching romance, superb special effects, and dazzling set pieces, all while remaining sublimely artistic, that if any summer movie manages to be a more complete crowd pleaser, 2004 will go down in the record books as the biggest summer ever for Hollywood. Hear me now: Spider-Man 2 will, and deservedly so, rule the box office until the last week in July – at least.

Spider-Man 2 is the rare follow-up that is so much more than a way to ring out a few more dollars by recycling some popular prior movie. What we have rather are characters continuing to blossom and face new challenges; characters we were drawn to in the first, but by the rousing finale here, are devoted and attached to until Raimi selfishly ends this saga. The beauty of Raimi’s Spider-Man movies is that they not only present diversions for the unaffiliated film fan, but are stocked with real insider acumen when it comes to the super hero (and cult hero Raimi) lore. There were many times (Bruce Campbell appearance, MJ’s “Go get em’ Tiger”) that had middle-aged adolescents jumping out of their seats in appreciation. If you don’t know what I’m talking about…who cares! - You’ll have a good time anyway.

Yes, of course there is the reliable comic book backdrop of villain versus hero. Our maniac (but, as thoughtfully delivered by Raimi and cerebrally played by Alfred (Tevye) Molina) is Doc Ock, one of Spidey’s most formidable adversaries as fans know. Simply put, he is a genius, conflicted scientist driven insane after an experiment goes wrong (but don’t they just always) leaving him with four metal tentacles capable of wreaking havoc upon the non super.

The film opens brilliantly, and a testament to the director’s passion for the underlying craft being celebrated, as scenes from the first film are depicted as drawings from a comic book’s panels. Immediately we remember the source material and experience a pleasant nostalgia for reading these amazing tales as children (okay…as young adults...okay sometimes in college…okay I’m reading one now). It is remarkable how the filmmakers here are so confident with their ability to tell this story that we don’t even arrive at a true crisis until well into the first hour. No need to produce the bad guy right away or have Peter and MJ go at it – there is a story developing here and the highs and lows will come where appropriate. The film begins almost entirely with light, often hysterical comedy, and then meanders into the interrelationships between the above mentioned Harry, MJ, and Pete (nothing tops Pete and MJ by that old gate in the Forest Hills backyard). Finally, when we are good, wound, and (dare I say it) actually care about the characters (again) do intense conflicts arise. Rarely will a part two care enough to reingratiate itself with the audience (hey, they already got your money). Once the action begins it is stupefyingly hectic and brutal (this film is darker in its darkness than the first) and a visual achievement to degrees that make me proud to be human (presuming the wizards who put this together are of my species). Even the sharp writing manages to shock by breaking some well-established super-hero rules, and comes out the better for it (although purists will complain and be forever traumatized).

Just to stay frum and find one fault with Spider-Man 2 (because only Hashem is perfect) it mildly suffers from Return of the King syndrome. It could have ended a few different times towards the end and cut a few moments to have formed an arguably cleaner product. However, I can understand why Raimi included some late scenes in an effort to tantalize audiences for the next round.

There are two exceptional Marvel comic film series going on right now (X-Men and Spider-Man), and these fully realized epics are not just for geeks and really big geeks – they are made with dreamlike imagination and a poet’s sensitivity. See them not only to pass the time uproariously on a humid, lazy afternoon, but to be reminded of why we love movies in the first place.
 

Send all comments to movie rav jordan hiller at jtrick1@aol.com