The Amazing Spiderman 2
May 8, 2014
The Amazing Spiderman 2 (** ½) PG-13
My initial reaction after seeing the latest chapter in the second series of Spiderman films in less than 15 years (!) was that apparently no lessons have been learned. What I mean is that apparently no one seems to have taken into account the complaints that were thrown at the third film in Sam Raimi’s original trilogy, namely that there were too many villains and not enough emphasis on the human principles in the film.
All of those flaws inherent in that film from only seven years ago has also cast a shadow on the proceedings in Mark Webb’s second installment in Sony’s cash-grabbing attempt at keeping the Spiderman franchise going, quality be damned. And though it would be hard to label Spidey Number 2 an absolute disaster, the earmarks of a bad film are still lurking about and can easily be spotted.
The first hour of the film or so is fairly engaging as no Spiderman film as of yet can be labeled as unwatchable. Things pick up after a prologue explaining what really happened to Peter Parker’s parents, with our hero heading off a truck loaded with stolen plutonium and driven by a Russian character listed in the credits as Aleksei Sytsevich (Paul Giamatti).
Jamie Foxx and Spiderman
I‘ll stop here and mention that the character is a woefully underdeveloped one whom most comic fans will recognize as Spiderman’s nemesis, Rhino. I suppose they threw him into the mix in order to set things up for the next film but his brief appearance at the beginning and a token scene at the end feel forced and not an organic development in the story, the first of several instances like this in the film.
In the midst of averting a nuclear disaster, Spiderman also saves the life of Oz Corp employee, Max Dillon (Jamie Foxx, in a spirited performance). Max, of course, is later bitten by electrified eels and becomes Electro and wrecks havoc. In addition to all of the aforementioned story threads, there’s the on-again/off-again romance between Peter/Spiderman (Andrew Garfield) and Gwen Stacy (Emma Stone), Oz Corp head, Norman Osborn (Chris Cooper) suffering from some terminal illness and enlisting his son Harry (Dane De Haan), to find a cure and a subplot involving the Green Goblin.
The film has so much on its plate that when a major plot development that should have had real dramatic heft takes place during the final act, it’s almost an afterthought, leaving the audience cold instead of emotionally invested.
Part of the problem with the film, aside from its overstuffed plot, is in the casting. Once again, Andrew Garfield, in the lead role, just seems all wrong and even more so here than in the first installment. Peter Parker has always been a bit on the geeky side but Garfield, with his perfectly coiffed locks, projects none of that persona. It’s yet another quibble in a film filled with many.
Belle - PG
By Jake Coyle
AP Film Writer
There may be no whiter genre than the costume drama. The flowing gowns, the horse-drawn carriages, the codes of aristocratic courtship all evoke an era not exactly known for diversity.
That’s why the simple poster of Belle, a new film directed by Amma Asante, is so striking. A beautiful, finely outfitted black woman in an 18th century parlor room stares back with regal poise. The historical incongruity is all the more arresting because, it turns out, it’s real history.
Belle is the based-on-a-true-story of an 18th century mixed-race woman, Dido Elizabeth Belle (Gugu Mbatha-Raw), brought up in British aristocracy.
While such a tale is undoubtedly rich, filled with questions of identity, class and race, Belle is unnaturally rendered like a Jane Austen story of dowries and engagements. It’s an awkward, ill-fitting match of social progress and costume drama convention.
And those 18th century conventions of speech and etiquette are often gratingly stilted in Belle, stifling the film of any naturalism. Instead, Belle, made with fine intentions, has none of the uniqueness of its remarkable subject.
Belle, written by Misan Sagay, was inspired by a 1779 double portrait of Belle and Lady Elizabeth Murray—one biracial, the other white—captured in seeming friendship.
Gugu Mbatha-Raw & Sam Reid in Belle
Sagay and Asante (who’s made one film before, 2004’s Way of Life) were intrigued by the story behind the painting.
Little, though, is known of Belle, so the film often feels as though it’s grasping to imagine what her life was like, and to artificially connect her with larger story lines from her time.
Belle begins with her Royal Navy Admiral father (Matthew Goode, whose presence is missed as soon as he departs, setting sail for the Indies) dropping a young Belle off with his uncle, William Murray, the Earl of Mansfield (Tom Wilkinson) and his wife (Emily Watson) at their palatial country estate in Hampstead. They are initially appalled, but give in to his insistence that the illegitimate Belle has his blood, and should be raised accordingly.
The film shifts to Belle and Lady Elizabeth Murray (Sarah Gadon) as young women. They are beginning to see society and possible suitors, though Belle is largely naive to her lesser status. When guests come for dinner, she isn’t allowed at the table.
But Belle still has currency as a bride thanks to her lineage and her inheritance. As suitors circle each girl (Murray has no such dowry to offer), the movie empathetically comments on the variety of unjust inequalities, whether by skin color or gender, pocket book or standing. Belle is drawn to the idealistic son of a vicar (a low station) named John Davinier (Sam Reid).
Belle also works in a famous event, the 1781 Zong massacre, in which a British slave ship drowned some 142 slaves in the Caribbean. The traders claimed to not have enough water for the voyage and made an insurance claim on the lost ``cargo’’ that went to the height of Britain’s courts.
William Murray, also Lord Chief Justice, oversaw the case, and the increasingly politically aware Belle, in a real stretch, is depicted as centrally influencing its decision. In a film populated by one-dimensional shades of good and evil, Wilkinson is the only actor called on to balance more than one emotion. As usual, he manages the task very well, adding a depth Belle otherwise lacks.
That isn’t to say that the young British actor Mbatha-Raw doesn’t carry herself well. She is spirited and bright, alternatively gentle and impassioned.
But the golden-hued Belle, handsomely made with lavish period detail, has none of the charged friction of its poster.
Two stars out of four.
The Amazing Spiderman 2 is playing all over the area, including Hickory’s Carmike theater.
Belle has not yet opened in North Carolina.
Questions or comments? Write Adam at email@example.com.