The electrical engineer is Max, and it turns out that does matter. The firemen are called Mike and Big John, not that it matters. He connects with individuals, taking the time to catch their names, from a distracted electrical engineer snatched from the path of a hijacked truck to the firemen who help Spidey hose down a hot situation. This webslinger doesn’t just swing in and out saving generic New Yorkers, the way Tobey Maguire did in the Sam Raimi trilogy. Or rather, he becomes a more experienced, confident version of that guy, someone that guy would plausibly become. Now, a funny thing happens: Spider-Man becomes the guy from that scene.
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It’s a touching, human moment - but just one scene in a film that I argued largely botched the iconic character and his defining motivations.
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Peter keeps up a stream of reassuring banter, takes the time to notice the kid’s name (Jack) on a nametag, and so forth. What makes this scene memorable is the emotional connection Andrew Garfield’s newly minted hero establishes with a young boy in peril whose trust and cooperation he needs to rescue him. The Amazing Spider-Man suggested a mystery around the death of Peter’s parents, and the revelations here offer a new angle on Spider-Man’s origins, along with some nifty set pieces.īest of all, the new film delivers on the potential of one of the strongest moments in the 2012 film: a terrific sequence on the Williamsburg Bridge that I called out in my review as “a better character moment than anything in the Raimi films.” (You can watch the scene on YouTube.) From the new film’s gripping opening scene, a flashback involving Peter Parker’s parents, it’s not entirely clear that the earlier film will be a liability.