Film Review: The Amazing Spider-Man

The Amazing Spider-Man. Rated M (action violence). 136 minutes. Directed by Marc Webb. Screenplay by James Vanderbilt, Alvin Sargent and Steve Kloves.

Verdict: Andrew Garfield brings Peter Parker to life in sensational form – and the film follows his lead beautifully.

If there’s one reason to see this intriguing reboot of the Spider-Man franchise, it is Andrew Garfield’s (Boy A, The Social Network) bravura performance in the title role. Garfield’s Peter Parker is no shy, bland, awkward geek. Instead, Garfield’s Peter is a twitchy, neurotic, damaged young man who is perpetually grieving for his lost parents who obviously meant the world to him. It’s a fascinating, complex performance from one of the finest young actors of his generation – and one that lends this particular take on the well-known and much-loved Spider-Man a source of deeply engaging heart and soul.

Garfield is well-supported by the charming Emma Stone (The Help) as Peter’s girlfriend Gwen Stacy, who also provides the film with a lightness of touch that is a delightful counterpoint to the film’s over-riding seriousness. Rhys Ifans (The Five-Year Engagement) makes a fantastic Dr Curt Connors/The Lizard, while Denis Leary as Gwen’s father and Martin Sheen (The West Wing) and Sally Field (Brothers and Sisters) as Peter’s aunt and uncle round out the fine ensemble.

Writers Vanderbilt (Zodiac), Kloves (who adapted the Harry Potter novels for the screen) and Sargent (who has worked on every Spider-Man script including Sam Raimi's memorable adventures with Tobey Maguire in the title role), have delivered a beautifully structured screenplay that neatly divides the story into two parts: the keenly-observed origins of Peter’s superpowers and the ultimate battle between Spider-Man and The Lizard for control of New York.

Webb (500 Days of Summer) wisely lets his outstanding ensemble do what they do best before cutting loose in spectacular fashion for the film’s monumental slap-down that echoes the climactic sequences of King Kong.

Editors Alan Edward Bell, Michael McCusker and Pietro Scalia keep the action moving along at a perfect pace – ensuring that the pace never once sags, and James Horner’s (Avatar, Titanic) score underscores every layer of the story perfectly.

John Schwartzman’s (The Green Hornet) superb cinematography beautifully accounts for the film’s many changes in mood and tone – with the night-time sequences high above the city, in particular, just stunning. Fans of the Marvel comics will note the stylish comic book framing of almost every shot – and will more than likely be grateful that Webb and his creative team have chosen to respect the comic book origins of the character with a fine, uncluttered visual aesthetic.

As we have come to expect, a short scene after the main credits at the end more than hints at a sequel – and it’s not that often that we welcome that thought. In this case, though, it’s welcome back and hurry back Spider-Man.

This review was commissioned by the Geraldton Newspaper Group and appeared in the print edition of The Geraldton Guardian (pictured below).