The Amazing Spider-Man 2 (2014)
by Steve Habrat
Less than two years ago, Sony and Columbia Pictures rushed director Marc Webb’s The Amazing Spider-Man to the big screen, just five short years after Sam Raimi’s overstuffed Spider-Man 3. With a brand new cast led by The Social Network’s Andrew Garfield, The Amazing Spider-Man was a rush job of a summer blockbuster—a desperate attempt on Sony’s part to hold on to the rights of the Spider-Man character. It’s easy to see why Sony wanted to keep Spidey trapped in their web, as the beloved superhero is an audience favorite that guarantees the studio a big pay day. Yet for all the insistence that The Amazing Spider-Man was going to be a fresh start for the character, the film’s plot seemed awfully familiar and, frankly, a bit underwhelming when pitted against Marvel’s The Avengers and DC’s The Dark Knight Rises, the two summer kingpins of 2012. Now here we are at the commencement of the 2014 summer movie season and leading the blockbuster procession is The Amazing Spider-Man 2—a cramped comic book epic that fails to live up to its colossal hype. Sure it’s made with all the splashy action, on-again-off-again romance, wisecracks, and confliction that we have come to expect from a Spider-Man movie, but returning director Marc Webb and screenwriters Alec Kurtzman, Roberto Orci, and Jeff Pinkner appear to have been bitten by the same excess bug that nipped Raimi when he delivered his Spider-Man 3 dud.
The Amazing Spider-Man 2 finds brainy teenager Peter Parker (played by Andrew Garfield) continuing to battle crime on the New York City streets as Spider-Man. On the day of his high school graduation, Peter’s spider senses lead him to a high-speed chase through the city streets involving a highjacked truck that is carrying a massive load of plutonium. The man behind the highjacking is Aleksei Sytsevich (played by Paul Giamatti), a ruthless Russian mobster who will stop at nothing to outrun the authorities. With the help of Spider-Man, the authorities are able to corral Sytsevich, but during the chase, the webslinger saves Max Dillion (played by Jamie Foxx), an OsCorp employee who is largely ignored by his coworkers. In the wake of the rescue, Dillion develops an unnatural obsession with Spider-Man, believing that he is the superhero’s partner. Meanwhile, Peter suffers from visions of fallen police captain George Stacy, the father of his girlfriend, Gwen Stacy (played by Emma Stone), who made Peter promise to distance himself from Gwen after his battle with the Lizard. Haunted by the promise he made, Peter grapples with his romance with Gwen, which leads to a nasty break-up between the two. Shortly after the break-up, Peter reunites with his long lost friend Harry Osborn (played by Dane DeHaan), the son of OsCorp’s late president, Norman Osborn (played by Chris Cooper). Before his father’s death, Harry learns that he has inherited his father’s illness, and that he has to rush to find a cure before it’s too late. At the same time, a freak workplace accidently transforms Max Dillion into an electrified monster called Electro. After a botched attempt to calm the terrified Max in Times Square, Dillion develops a grudge against Spider-Man and vows to destroy him.
At two hours and twenty minutes, The Amazing Spider-Man 2 attempts to juggle a staggering number of subplots, all of which seem to demand more time than they are allotted. Webb and his screenwriters continue to reveal tidbits of information about Peter’s late parents, and Harry’s quest to cure himself leads to the creation of a familiar Spidey super villain. And then there are the romantic quarrels between the impossibly cute Gwen Stacy and the stammering Peter, a couple that have to hold the record for the most make-ups and break-ups in a single motion picture. Honestly, trying to keep up with all of it is exhausting, and in the process, Webb practically forgets about one character that we’re left wanting quite a bit more from. After a while, this overcrowded tale begins to feel a bit like Spider-Man 3, the film that single-handedly killed off Raimi’s series. It appears that neither the filmmakers nor the studio learned from this mistake, although Webb avoids the cartoonish brooding and cringe inducing camp that made Raimi’s such a painful embarrassment. What’s clear is that Sony is putting pressure on the filmmakers to set up spin-off movies and lay the foundation for the next two installments in this Spidey saga. Sony has already made it clear that they intend to craft a cinematic universe much like Disney’s Avengers line, although, this world is threatening to be too villain heavy.
While the jam-packed narrative causes The Amazing Spider-Man 2 to feel sluggish, the lighter moments between Peter and Gwen put a little pep in the film’s step. The relationship drama does get a bit tiresome, but the two stars have a chemistry that soothes some of the grumbles that are bound to slip out from many audience members who have grown weary of Spidey’s chaotic love life. It also helps that Garfield and Stone share an off-screen romance, which makes their on-screen relationship even cuter. On his own, Garfield continues to settle into the role of Peter Parker/Spider-Man, wisecracking his way through gunfights, car chases, aerial battles with Electro, and a final showdown with the charging Rhino. There is no denying that Garfield nails the cocky comedic side of the character, but he also proves that he can handle Peter’s darker demons that creep in when he’s not swinging through the concrete jungle. His inner angst is measured with a desire for answers about his parent’s mysterious death—a mystery that he grapples with in the privacy of his bedroom. Stone remains an actress you just can’t resist as her Gwen Stacy looks to a future without Peter by her side. In the final stretch of the film, she proves to be more than just a damsel in distress, daring to jump into the action and assist a desperate Peter as he fends off attacks from Dillion’s Electro and Harry’s cackling Green Goblin.
On the villain end of things, The Amazing Spider-Man 2 finds one half of the Sinister Six uniting to squash the Spider. If you thought that Lizard was a far-fetched villain, wait until you lay eyes on Electro, a glittery swirl of electricity given a tragic human rage by Jamie Foxx. Early on, Foxx really makes you feel for Max Dillion, a geeky engineer who talks to himself and frowns as his coworkers look right through him. As Electro, Foxx plays the character as a terrified monster that doesn’t wish to harm anyone, but this misunderstood monster performance is rapidly brought down through a sudden script shift that demands Electro get mean fast. DeHaan was born to play Harry Osborn, the chilly son of OsCorp’s late president who is doomed to become the leering Green Goblin. The scenes shared between Peter and Harry are pleasant enough, but there are far too little of them for us to really be shaken when Harry’s Green Goblin comes calling for Peter’s Spider-Man. Giamatti’s Aleksei is appropriately over the top, as he grunts and growls in a hammy Russian accent. Sadly, he’s reduced to an extended cameo, but when he jumps into that menacing Rhino suit and starts wrecking havoc in the streets of New York City, I promise your adrenaline will start surging, especially when he stares down quivering cops and proclaims, “I am zee Rhino!”
As expected, The Amazing Spider-Man 2 features numerous action set pieces that will thrill viewers of all ages. The scenes of Spider-Man swinging between skyscrapers are some of the most convincing we’ve seen so far, and Spidey’s first encounter with the skittish Electro shows off some impressive urban destruction. My personal favorite action moment is the confined fistfight between Spidey and the Green Goblin, a battle that ends with a shock guaranteed to blindside the packed theater. Another personal favorite is the Wall-Crawler’s showdown with Rhino, who charges into the battle guns and rockets blazing. As far as other complaints go, I found the score, which is composed by Hans Zimmer and the “Magnificent Six,” a super group led by Pharrell Williams, to be an absolute catastrophe. The chugging and whispering theme for Electro is just distracting as it attempts to get inside his glowing head, and the sudden lapses into shrill dubstep leaves your ears ringing. Overall, while there are things to like about The Amazing Spider-Man 2—the action, the CGI, the performances—the film doesn’t find Webb sending the friendly neighborhood Spider-Man to soaring new heights. What we’re left with is a cluttered and disjointed superhero outing preoccupied with enticing the audience rather than satisfying them until Spidey inevitably swings back onto the big screen.
Anti-Film School Recommends This Film…
Django Unchained (2012)
After what felt like an eternity (just slightly under four months, actually), Quentin Tarantino’s masterpiece Django Unchained is finally available on Blu-ray and DVD. If you didn’t see my Top 10 Films of 2012 list, then you didn’t know that this ultra-violent and ultra-entertaining spaghetti western was my pick for the best film of last year. Funny, action packed, stunningly well-written, and unflinching, Django Unchained also features some of the best performances from last year (wait until you see Christoph Waltz and Leonardo DiCaprio). The Blu-ray isn’t particularly bursting with features, however, there is a documentary called Reimagining the Spaghetti Western: The Horses & Stunts of Django Unchained, a look at the costume designs from Sharen Davis, and a feature called Remembering J. Michael Riva: The Production Design of Django Unchained. If you’re a fan of cinema or a Tarantino nut, you might want to high tail it over to Best Buy to pick up their special edition that comes in some nifty packaging that will look mighty cool next to your Tarantino XX collection. So, if you wish to read the Anti-Film School review of Django Unchained, click here, and if you’re curious why I picked it as the best film of 2012, click here.
-Theater Management (Steve)
Django Unchained (2012)
by Steve Habrat
For years, Quentin Tarantino has been hinting that he wanted to make a spaghetti western. He constantly gushes about Sergio Leone’s classic epic The Good, The Bad, and the Ugly (it’s his favorite film) and he even nabbed a bit part as a Clint Eastwood type gunslinger in Takashi Miike’s tepid Sukiyaki Western Django. We knew his take on the gritty western was coming but we didn’t know exactly when. Well, that long rumored epic he has been hinting at is finally here and I must say, I think Mr. Tarantino has outdone himself and delivered one of the finest films of 2012. Red hot with controversy (the N-word is used A LOT), Django Unchained is a firecracker of a film that finds the talkative director at his wildest and craziest. For years, audiences have been split over his kung-fu/spaghetti western mash-up Kill Bill, some saying he flew too wildly off the rails (I hear many describe it as “weird”) while others smack their lips at the cartoonish carnage. Me, I was all for a Tarantino western and I couldn’t be happier with the results. Yes, Django Unchained is a difficult pill to swallow with its harsh look at slavery but remember that this is Tarantino’s version of history and that alone should tell you everything you need to know about the film. Django Unchained is ultimately a valentine to a genre that Tarantino adores, which makes it easy to forgive some of the edgier moments of this masterpiece. I would go so far to say this is Tarantino’s strongest film and the one that seems to be the most alive with the spirit of 70s exploitation cinema. Maybe this should have been the film he made for his portion of Grindhouse.
Set two years before the Civil War, Django Unchained begins on a cold Texas night with a group of recently purchased slaves being transported through the countryside by the Speck brothers. As the group shuffles through the night, they are approached by Dr. King Schultz (Played by Christoph Waltz), a German dentist turned bounty hunter who is looking for a specific slave named Django (Played by Jamie Foxx). Schultz is hunting for a trio of deadly gunslingers known as the Brittle brothers and Django is the only one that can identify them. Schultz and Django make a deal that if Django takes Schultz to the Brittle brothers, he will help Django locate his long lost wife, Broomhilda (Played by Kerry Washington), who has been sold to a sadistic plantation owner named Calvin Candie (Played by Leonardo DiCaprio). As Schultz and Django bond, Schultz realizes that Django has a talent for the bounty hunting business and he begins showing him the ropes. The two form a deadly alliance that sends them to Mississippi, where they begin devising a way to infiltrate Candieland, Candie’s ranch that is protected by his own personal army and houses brutal Mandingo fights.
Just shy of three hours, Django Unchained covers quite a bit of ground during its epic runtime. It is jam packed with Tarantino’s beloved conversations, something that he knows he is good at and just can’t resist. The conversations are as fun as ever, but sometimes Django Unchained is just a little too talky for a spaghetti western. It is just odd to me that Tarantino would be making a tribute to spaghetti westerns and then never shut his characters up (For the love of God, his favorite movie is The Good, The Bad, and the Ugly!). I would expect someone like Tarantino to know that the gunslingers from Sergio Corbucci’s west sized each other up through razor sharp stares and not through constant chatter. No worries though, as I am sure that most audience members won’t pick up on this so it doesn’t really damage the overall product. Despite this minor nuisance, if you are a fan of westerns or exploitation cinema, you will be bouncing off the walls with delight. Tarantino zooms his camera in and out of action suddenly (it is hilarious every single time), getting right in a characters face or zooming out suddenly from a close up to reveal a jaw dropping landscape behind them. He laces his film with tunes from Ennio Morricone and Riz Ortolani, two instantly recognizable names if you’re up and up on your Italian westerns and cannibal films from the 60s into the 80s. When the gore hits, it is cranked up to the max. The blood often looks like the red candle wax goop that poured from gunshot wounds or zombie bites in the 70s. Hell, even Franco Nero, the original Django from the 1966 film (if you’ve never seen the original Django, you might want to get on that), shows up for a brief cameo! Are you exploitation nuts sold yet?
Considering this is Tarantino’s show, the performances are all top notch and instant classics. I was a little worried about Foxx starring as our main gunslinger Django but he is on fire here. He channels Eastwood and Nero’s silent heroes like you wouldn’t believe while also adding a layer of quivering mad sass to the character (Get a load of the delivery of “I LIKE THE WAY YOU DIE, BOY!”). I loved it every time Tarantino would zoom in to give us a close up of his scowling mug as it chewed on a smoke through tangled whiskers. He wins our hearts through his heartbroken stare and his determination to get poor Broomhilda back from Candie’s clutches. He instantly clicks with Waltz’s Schultz, a devilishly funny and clever bounty hunter who packs a mean handshake and can talk himself out of any situation. Waltz brings that irresistible charm that he brought to Inglourious Basterds and settles into the character quite nicely, a cartoonish cowboy who nabs all the best dialogue. When Foxx and Waltz are on screen together, the chemistry between them unbelievable. One is strong and silent, a pupil who is eager to learn and win back his life while the other is chatterbox joker who is deadlier than anyone could imagine. They alone will lure back for seconds.
As far as the rest of the cast goes, DiCaprio practically steals the film away from Foxx and Waltz as the bloodthirsty Calvin Candie. He is sweet as sugar one minute and the next, he is ordering his men to feed a terrified runaway slave to a pack of hungry dogs. You won’t fully appreciate the power of his performance until you get to the dinner sequence, which finds tensions rising to the point where Candie snaps and cuts his hand on a champagne glass. I honestly think he will earn an Oscar nomination for the hellish turn. Then we have Samuel L. Jackson as Stephen, an elderly house slave that spews more profanity than his character in Pulp Fiction. Along with Waltz, Jackson gets to deliver the feisty lines of dialogue and you can tell he loves every second of it. He disappears in the role to the point where you can’t even tell it is him. The role also serves as a reminder of just how good an actor Jackson truly is. Washington gives a slight and sensitive performance as Broomhilda, Django’s tormented wife. Keep your eyes peeled for an extended cameo from Don Johnson as Big Daddy, another wicked plantation owner who leads a bumbling early version of the Ku Klux Klan. Also on board are Michael Parks, Tom Savini, Jonah Hill, Bruce Dern, Franco Nero, and Tarantino himself, all ready to grab a chuckle from those who will recognize them.
As someone who has been a fan of Tarantino’s work for years, I have to say that I firmly believe that Django Unchained is his best film yet. It is unflinching with how it handles slavery while also staying shockingly lighthearted at the same time. It packs a gunfight that features more blood, guts, and gore than anything he threw at us in Grindhouse and it manages to tell a touching buddy story that creeps up on your emotions. I just wish Tarantino would have paid the extra dough and digitally scratched the film to make it feel even more like an authentic exploitation film. Overall, Tarantino proves that there is still some life left in the western genre and he gives it a massive shake up by fusing it to the blaxploitation genre. It may not be historically accurate but Tarantino has the good sense not to sugarcoat this dark chapter of American history. There are some tough moments but he never shies away from having fun and slapping a big smile right on your face. Long live Django and long live the spaghetti western. Django Unchained is one of the best films of 2012.
Horrible Bosses (2011)
by Steve Habrat
Let’s be honest, the premise of Horrible Bosses, a revenge-fantasy comedy that places three Average Joes at the center of an intricate plot to off their bosses a la Alfred Hitchcock’s Stranger’s on a Train could strike a chord with many casual moviegoers. Why? Because who HASN’T had a boss that has made their lives a living hell! It’s an amusing “What if?” that provides some minor laughs in the dead heat of the summer and a surprisingly small picture going toe to toe with films like Transformers, Harry Potter, and Captain America. But the film has a charming underdog persona that many can’t quite ignore (It also happens to feature an all-star cast!) and leaves you hoping it will be remembered once it’s long gone from theaters. I say this because the film walks the fine line between classic dark comedy and comedy-no-one-will-remember-in-a-year territory. I consider it a blue-collar comedy that pours it’s blood, sweat, and tears into all the shenanigans to make you laugh but sometimes it comes up a bit short. It’s a shame it might get lost in shuffle.
Every summer has a sleeper hit that audiences pass on via word of mouth. It ends up making a boatload of money and it usually turns out to be a comedy. We’ve already had a 50/50 summer when it comes to comedy and, frankly, comedy has been very uninteresting for quite a while. We had Bridesmaids which was a surprise smash and was a breath of fresh air. Two weeks later, the guys of the Hangover crashed the party and left everyone with a bad taste in their mouths. We’ve also seen Bad Teacher, one that was heavily hyped but largely written off by many and Zookeeper, another dud chucked out by Happy Madison. Now we have the often witty, sometimes disappointing Horrible Bosses, in which three nice guys decide they’ve had enough of their tyrannical bosses and decide to off them for each other. By killing each other’s, they are spared a suspected motive by the police and they end getting off punishment free. It’s a bit of a tired premise and really isn’t that inspired of an idea, but it will resonate! Especially if you take the dry asides of Jason Bateman (Arrested Development), the screeching insanity of Charlie Day (It’s Always Sunny in Philadelphia) and smart-ass narcissism of Jason Sudeikis (SNL) and pair them up against the sadistic Kevin Spacey, man-eating Jennifer Aniston, and the under-used coke addict Colin Farrell.
The three amigos, Nick (Bateman), Dale (Day), and Kurt (Sudeikis) enlist the help of a professional killer in Mother Fucker Jones, played by the dead-pan Jamie Foxx. They slam their heads together and they embark on a bumbling journey to expel their demonoid bosses from planet earth. The usually sticky situations follow and they are mostly all amusing. They sneak around their intended victims homes, accidentally get high on cocaine, stupidly leave their DNA everywhere, and drool over a lingerie clad Aniston as she deep throats a popsicle, a banana, and a hot dog. It’s good to see a fresh line-up of comedians like we have here, but they seem a bit new to the scene, in all honesty. They try to ad-lib with the best of them but sometimes it’s a bit forced and amateur, especially from Day who relies on his bat-shit crazy persona he crafted for his character on It’s Always Sunny in Philadelphia. He rattles off some winners and delivers some stink bombs that are intended to shock the audience into belly laughs. The most laughs come from Bateman, who delivers some zingers (One about fleeing to Canada will have you in stitches), Foxx who demonstrates extraordinary comedic timing (His explanation of how he got the name Mother Fucker will have you covering your mouth), and the largely ignored Colin Farrell, who delivers countless one liners that will leave you quoting for weeks (Wait until you see his outtakes!). Sudeikis fails to grab many of the chuckles and he passes himself off as a second rate Nick Swardson, who is funnier anyway. The casting could have been a bit stronger without his character. Spacey is clearly having fun but his character descends too far into downright evil territory. I know we are supposed to hate him but c’mon!! Aniston has some eyebrow-raising moments, mostly when she shows up almost nude in one particular scene and fires off more racy innuendos than any character in a Judd Apatow picture. She surprisingly churns out one of her better performances since Office Space. Julie Bowen (Modern Family) also shows up as Spacey’s wife but she is basically ignored in all the chaos.
There isn’t much to say in the way of Horrible Bosses. It’s charming even if it’s consistently raunchy and it’s hard to dislike it. There are clever gags and the film does not overstay it’s welcome by any stretch. It was a nice breather from all the explosions and superheroes that have been zipping around theaters. But I think that filmmakers could have poured a bit more time into this film. It’s a bit rough around the edges and appears rushed at times. You are left feeling that all the events that took place in the film were minor and insignificant. You want to rally behind it but sometimes it’s impossible to do just that. When all is said and done, it never really feels like these horrible bosses have had it stuck to them. Further, it falls short of the sleeper status that I thought would surely follow in its wake. Overall, it grasps at comedy greatness but comes up with comedy goodness. Don’t worry though; it will still have you chuckling to yourself as you punch the clock the next morning.
Horrible Bosses is now available on Blu-ray and DVD.