No one's got a crush on Peter...

Rating: 9/10 (7 May 2007)

Let me preface my review of "Spider-Man 3" by saying that in the last few years Marvel Comics has ruined what they have deemed for more than forty years as their flagship character and fictional ambassador, Spider-Man.
Spider-Man was used and abused by Marvel in their disastrous epic storyline known as "Civil War," where he was essentially forced by his creators (and characters in the story) to unmask himself publicly, ruining his reputation as Peter Parker, his crime-fighting career as Spider-Man, and most stupidly of all, risking the very lives of himself and every single person he cares for.
Really, in the scheme of the Marvel Universe, there is no Spider-Man any more. Oh, yes, he still appears in any number of eponymous titles published in grind house-fashion from the House of Ideas, but Peter Parker really isn't Spider-Man any more.
However, the Webslinger still exists, and oddly enough, he exists truly only on the silver screen. What Sam Raimi and Co. have done since 2002 has placed Spider-Man at the forefront of public consciousness in a way that Marvel never has, and now, never will.
"Spider-Man 3" continues that strange phenomenon, and is an awe-inspiring addition to the two companion films that preceded it. Also, interestingly enough, due to its dense, multi-layered, and intricate plot lines, it is the most comic book-esquire film ever made in this re-emerging genre.
So-called critics have complained that too much goes on "Spider-Man 3," and thus, it falls flat. Look, if the eight-year old children sitting around me in the theater could follow the plot(s), and still enjoy the film and themselves, then I really fail to see how middle aged, accomplished writers and journalists could not.
"Spider-Man 3" was able to masterful weave Peter Parker, our lamented titular hero, and the very love of his life, Mary Jane Watson's burgeoning relationship's ups and down, along with MJ's own lagging stage career, Peter's growing ego now that his alter ego has become the city's most beloved citizen and resident protector, the origin story of the criminal Sandman, and the reality that he was actually the murderer of Peter's Uncle Ben Parker, the arrival of rival photographer Eddie Brock, the bonding of Peter with the alien "symbiote" who affords him a new, black costume and a severe personality alteration, Harry Osborn's vendetta against Peter, whom he sees as the murderer of his father, and finally, the rise of Venom, his team-up with the Sandman, the climatic battle between heroes and villains, and culminating in deaths, forgiveness, and redemption. Yes, all that happens in 140 minutes, and somehow, it is done with such skill and enjoyment on the part of the audience, that I still wonder at how it was accomplished.
Tobey Maguire returns as our hero, and hopefully, not for the last time. Maguire epitomizes what Spider-Man used to be, and wears the role with the sort of ease the late, great Christopher Reeve possessed during his reign as the screen's Superman. Kirsten Dunst is given a lot to do here, and portrays Mary Jane Watson with real dramatic gusto, although as the film progresses, I really began to loathe MJ in a way I never have before.
The true highlights are James Franco's Harry Osborn/New Goblin and Thomas Haden Church's Flint Marko/The Sandman. Franco's character has evolved so much during the series, and in "Spider-Man 3" his fall into darkness is well done, as his return to innocence following his disastrous attack on Peter. I have to admit that there were tears in my eyes when Harry, now knowing how his father really died (thanks, Bernard!), saves the life of Peter, not once, but twice in the climactic battle with the Sandman and Venom. Harry dies for his friends, and is truly redeemed in a Darth Vader-like way that is sad, but satisfying.
Church fully fleshes out Flint Marko in such a way, that you can really see director Raimi's fondness for the popular Spidey villain. Church's Sandman is a tragic figure, not sure if he is good or bad, but ultimately willing to do anything to save the life of his daughter (incidentally, also the daughter of the Bride in Kill Bill Vol. 2). Church's Sandman not only survives this film, but actually is forgiven for the worst crime in the Spider-Man mythos, killing Uncle Ben, by Peter himself.
Topher Grace somewhat channels his smarmy role as Carter Duryea in "In Good Company" as the despicable Edward Brock, Jr. And frankly, as the symbiote-fueled Venom, is given little to do at the end. Venom is not seen on screen until the final battle, and does not survive the outcome. And I think for this fact alone, many fans of Spider-Man's comic book adventures from the late 80s and through the late 90s were turned off by this film. Venom rose from a one-trick pony. rip-off supervillain (see Superman's Bizarro No.1 and The Flash's Reverse-Flash) to a full-fledged anti-hero, and I guess, many fanboys expected this to be on full display in "Spider-Man 3." But, this wasn't Venom's story, or even the symbiote's story. It was the story of three friends, Peter, MJ, and Harry, who at last overcome the horrible things that have done to themselves and one another, and at last triumph over evil in a way that could never be done behind a mask or with super-powers.
If this is the end of Spider-Man's cinematic adventures, then I am truly sad. There are still just too many damn stories to tell about the Wall-Crawler. If this is simply the next chapter in Peter Parker's tale, then it is a fitting one that opens the door to the future of still my favorite hard-luck hero...well, next to Batman.
Highest recommendation!