“The Amazing Spider-Man” review: Peter Parker is back and better than ever

The Amazing Spider-Man

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It’s been just over a decade since Tobey Maguire first swung across the Manhattan skyline as Spider-Man, and three blockbuster films later, we have a brand new Peter Parker in Andrew Garfield and a fresh spin on the web-slinging hero’s origin story in “The Amazing Spider-Man.”

Still, the bar is set pretty high for Spider-Man’s return to the big screen, with the previous three-film franchise earning almost $2.5 billion worldwide and receiving generally positive reviews across all three installments. For the studio’s gamble to pay off, “The Amazing Spider-Man” must not only succeed on its own merits, but also win over fans of its predecessor with a new director, star, and tone for the wall-crawling, web-slinging hero.

And thankfully, that’s exactly what it does — and what’s more, it goes a long way toward posing the question, “Tobey who?”

It’s worth noting early on that I’ve long considered 2004’s “Spider-Man 2” not only the best of the previous franchise, but one of the best comic-book movies made in the last decade. Even so, when the credits rolled on “The Amazing Spider-Man,” I found myself wondering whether Garfield’s debut as teenage superhero Peter Parker might actually be a better film than “Spider-Man 2” — or either of the two other films, for that matter — in Sam Raimi’s blockbuster trilogy.

Visually, “The Amazing Spider-Man” is the natural evolution of the webslinger’s big-screen adventures, seamlessly combining fantastic practical and digital effects that blur the line between the superhero’s world and our own. In many cases, it’s nearly impossible to tell where the computer-generated elements end and real-world sets and stunts begin, and just as the scenes of Spider-Man swinging through Manhattan grew more impressive with each installment of the previous franchise, the reboot shows every minute of the four years it had to improve on the effects of “Spider-Man 3.”

Along the same lines, the 3-D in “The Amazing Spider-Man” doesn’t show any of the normal issues associated with films that feature a lot of fast-moving, colorful elements, and manages to enhance the experience rather than distracting from it. Basically, it’s 3-D done right, and it shows you just how much the format can add to the theater experience — especially during some of the brilliant sequences shot from first-person perspective that director Marc Webb included in the film.

Plot-wise, “The Amazing Spider-Man” falls short of telling the “untold story” that the movie’s tagline promised, but that’s only because the movie stays closer to the character’s comic-book origin than any of the previous films. From Peter Parker’s mechanical web-shooters to the mysterious circumstances surrounding his parents’ death, to the presence his very first love, Gwen Stacy, “The Amazing Spider-Man” manages to be both a modern retelling of Spider-Man’s origin and the most faithful adaptation of those early comics we’ve seen thus far.

And where the previous films glossed over many of the moments that defined Spider-Man as a character in the comics — most notably, his relationship with Gwen and her father — “The Amazing Spider-Man” clearly isn’t afraid of taking the time necessary to develop the mix of emotional extremes that are a hallmark of the character. Fans know that Peter Parker is at his best when he’s grappling with the demands of his sense of responsibility and the unbridled glee of being a teenager with all of these amazing powers, and Webb delivers a film that captures that dynamic perfectly.

That’s not to say that “The Amazing Spider-Man” is without a few flaws here and there, though. Much like the previous trilogy, Spider-Man spends a bit too much time in costume without his mask, making the notion of his identity remaining secret a little far-fetched. At a time when every parking lot, street corner, and phone has a camera, the idea that Peter Parker’s hijinks sans mask could go unnoticed is a little sketchy.

The film also has some problems here and there with its primary villain, The Lizard, due to the amount of digital effects required to make actor Rhys Ifans into a massive, scaly monster with a tail the size of a compact car. A few close-quarters scenes with Spider-Man and Lizard feel a little too heavy on the computer-generated visuals, but Webb has a good handle on when to rein these scenes in before they run away with the film.

A scene from Amazing Spider-Man

The cast of “The Amazing Spider-Man” also seems to have a good grasp of the subject matter, and Garfield makes a strong case for himself as the new standard for Peter Parker. While his take on the character is less awkward and nerdy than his original 1962 counterpart, he clearly draws a lot from the modern-era Peter Parker introduced in Marvel’s line of Ultimate Comics, which filter popular heroes’ origin stories and adventures through a contemporary lens. (This is the same line of comics that Marvel Studios drew inspiration from for “The Avengers” and the rest of its recent films.)

Unlike his predecessor, Garfield seems to be conscious of the change that takes place in Peter when he puts on his costume. When he becomes Spider-Man, his movements become quick, jumpy, and spider-like, and Webb deserves credit for reflecting this in the action sequences. The hero of “The Amazing Spider-Man” uses his abilities in much the same way as a spider would, wrapping up his opponents with webbing in fast, darting attacks that are 100-percent arachnid, and using the strands of his web to sense what’s around him.

It’s a clever move by Webb that leaves you wondering why the original trilogy didn’t think to do the same.

Emma Stone also goes a long way toward bringing the Gwen Stacy of the comics to life on the screen, and along with being a visual match for the character, her chemistry with Garfield offers a great reminder of why Gwen Stacy is remembered so fondly by fans. First and foremost, she’s attracted to Peter, not Spider-Man — and she sells this key difference in the film. While the film’s duo move from casual acquaintance to tell-each-other-every-little-secret a little too quickly, Webb and his leads do a nice job of showing you why the pair were once one of comics’ most popular couples.

When the credits do finally roll — and make sure to wait until they stop rolling for an extra scene — it seems silly to think of “The Amazing Spider-Man” as anything but the best Spider-Man film we’ve seen so far. From the massive improvements in visual effects and action sequences to a more appropriate tone and leads who better embody everything fans love about the characters, Webb’s spin on the Marvel wall-crawler is proof that looking at a character with fresh eyes can sometimes be a good thing, and that “reboot” doesn’t have to be a dirty word.

In the end, it’s entirely appropriate that “The Amazing Spider-Man” opened in the period between “The Avengers” and “The Dark Knight Rises,” as it occupies a spot that’s tonally equidistant from both films. Where Marvel’s big team-up movie was a lighthearted, fun adventure and Christopher Nolan’s upcoming Batman finale is likely to be a dark, brooding exploration of its hero’s soul, “The Amazing Spider-Man” is a balanced mix of bright and dark, fun and angsty, fast-moving and deliberately ponderous — just like its hero.

“The Amazing Spider-Man” opens July 3.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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