'The Favourite' Review

With only three days left in the year, I'm behind on writing reviews by a substantial margin. There are ten films that I've seen and not yet reviewed, and quite a few I'd like to catch up on at the last minute via streaming or a recently acquired Blu-ray. Therefore, it's impossible for me to review EVERYTHING I've seen in 2018 before 2019 unless I write non-stop and flood social media with review after review. So I've chosen to prioritize reviewing a select few films which are The Favourite, If Beale Street Could Talk, and Vice. I'll do my best to share one review daily till December 31st.

'The Favourite' Review

Nominated For: Best Picture, Best Director; Yorgos Lanthimos, Best Actress; Olivia Colman, Best Supporting Actress; Emma Stone, Best Supporting Actress; Rachel Weisz, Best Original Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, and Best Production Design.
Won: Best Actress; Olivia Colman.

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend Lady Sarah governs her country in her stead while tending to Anne's ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.

The Favourite is the latest, and likely most accessible, film from Greek writer/director Yorgos Lanthimos. For those unfamiliar with Lanthimos' work, I'd advise watching at least one of his previous films so you may be somewhat accustomed to his unconventional filmmaking approach. The only Lanthimos production I'd previously seen was The Killing of a Sacred Deer, but I am quite keen to watch The Lobster soon. At this point, I'd say it goes without saying that Lanthimos' films are eccentric and bizarre, which is precisely what I love about them. Lanthimos didn't write The Favourite, but Deborah Davis and Tony McNamara certainly considered his off-kilter tendencies when fabricating the razor-sharp story and witty dialogue. Though the setting, characters, and general plot are inspired by actual 18th century England, the historical accuracy is most certainly up for debate as story elements were likely embellished for the sake of Lanthimos' vision and artistic liberties were most certainly taken with the lesser known events.

With immaculate costume design, lavish production design, and a series of concertos and sonatas from the likes of renowned Baroque period composers such as Vivaldi and Bach, The Favourite may resemble a traditional 18th century English period piece at first glance, but I can assure you that Lanthimos has whipped up something far more twisted and dastardly than one would expect. The devious plotting and elaborate machinations at the story's center are an utterly fascinating through-line which build and build to an enthralling power-struggle between two unrelenting advisors.

Lady Sarah and Abigail's rivalry is perhaps most intriguing on account of the heightened tension brewing just beneath the surface. As the women seek to out-scheme one another, their ultimate motivations remain a mystery. It's not till the film's phenomenal finale that the audience truly understands each character's endgame. Until then, you will question their loyalties and just how genuine their behavior is. Are their actions selfless or ultimately for selfish gain? The slow, scandalous unspooling of their inner thoughts amidst the conflict only further drew me in. This ever-changing dynamic is further enhanced by the efforts of Academy Award-winning actresses Emma Stone and Rachel Weisz. They each exhibit a multifaceted performance which ranks among their very best work to date, and the two actresses dig deep into the unhinged, vindictive psyche of their respective characters while showcasing emotional vulnerability as well. 

Rounding out the trio of powerhouse performances, Olivia Colman's Queen Anne is equally nuanced. Colman often quickly fluctuates between instances of childish pouting, unrestrained anger, and gleeful giddiness, but the mood swings don't feel cartoonish or exaggerated as they would have in the hands of a lesser actress. Needless to say, all three women are outstanding here and well-deserving of the awards recognition sure to come their way. 

As for other supporting cast members, Nicholas Hoult and Joe Alwyn are impressionable and well worth mentioning for their roles as the big-wig Tory politician Harley and the nobleman Masham respectively. 

In summation, you'll be hard-pressed to find another 2018 release which is as wickedly witty as The Favourite. Yorgos Lanthimos' sadistic, dark humor remains unchallenged, and Lanthimos has gained favor in my eyes as one of the most abstract filmmakers working today. I'm further drawn into following his filmmaking career from now on. Fittingly, The Favourite has become not only one of my favorite films in the awards race but one of my favorites of the year as well! 

Film Assessment: A+

Recollection Reflection Review: 'The Amazing Spider-Man 2'

To accompany the release of Spider-Man: Homecoming, I've gone back and reviewed all the Spider-Man films so I'm also revisiting The Amazing Spider-Man 2. If you missed any of my other Spider-Man reviews, you can find them at the following hyperlinks: Spider-Man, Spider-Man 2, Spider-Man 3, and The Amazing Spider-Man.

'The Amazing Spider-Man 2' Review

Recollection- 'The Amazing Spider-Man 2' Review

Reflection- I can recall around the release of The Amazing Spider-Man 2 that the idea of Spider-Man swinging over into the Marvel Cinematic Universe seemed like a pipe dream. Sony seemed hell-bent on establishing their own shared universe with the characters at their disposal and the likelihood of Spider-Man appearing alongside the Avengers was a long shot. With that in mind, I thought The Amazing Spider-Man movies were the closest Spidey would get to swinging straight out of his source material. However, a lot has happened since then and fast forwarding to today you'll find an unprecedented deal was struck between Marvel Studios and Sony Pictures allowing shared control of the character and we now have two MCU flicks featuring the wall-crawler in some capacity. Since then, I've watched The Amazing Spider-Man 2 a few times and I've gotta say my tune has changed over time but you'll hear more on that in a moment. I feel the best way for me to elaborate on my opinion will be if I include spoiler-heavy plot points though, so this review will include spoilers.

Review- The Amazing Spider-Man 2 swings forward into the life of Peter Parker as he graduates high school and fights crime on the side. Meanwhile, Peter's conflicted about his promise to Captain Stacy as he begins to realize the severity of the dangers that accompany his double life. However, his greatest battle is just beginning as a new adversary Electro emerges, his old friend Harry Osborn returns to New York, and Peter recognizes Oscorp to be the thread tying everything together.

Marc Webb returned to sheppard the web-slinger's sequel but the film feels devoid of distinct direction. Like Spider-Man 3, it's difficult to pinpoint exactly where Sony interfered but The Amazing Spider-Man 2 reeks of studio interference. The Amazing Spider-Man 2 swung all over the place in search of a reliant anchor point but it never stays in one place long enough to find its footing. Nevertheless, the finished product suffered from an over-reliance of setting up the franchise's future and it's just sad revisiting The Amazing Spider-Man 2 with the foresight none of those plans will ever materialize. 

The script penned by Alex Kurtzman, Roberto Orci, Jeff Pinkner, and James Vanderbilt is jumbled across the board. The characters sprawled throughout The Amazing Spider-Man 2 seem to belong in drastically different movies, while the film itself is tonally inconsistent from start-to-finish. In one moment the film is downright dour, but in the next it'll crank the campiness all the way up. The film never sticks to the realistic portrayal Webb swung out with in The Amazing Spider-Man, but it can't commit to the camp that accompanies New York's friendly, neighborhood web-head either. The screenplay juggled about four major threads that seldom intersected with one another, if at all. These being the mystery of Peter's parents, Harry Osborn's sickness, Max Dillon's rampant wrongdoing as Electro, and the romance between Peter and Gwen and the consequences of such. 

First off, Peter's investigation into the disappearance of his parents is suddenly abandoned about two-thirds of the way through but it almost had to be addressed simply because The Amazing Spider-Man introduced that story arc. However, these scenes were largely pointless in regards to furthering the story overall and even progressing that specific storyline in a meaningful way. It's understandable that Peter would want to know what happened to his parents since the viewers are in the same boat but it almost goes without saying that every time I revisit The Amazing Spider-Man 2, I'm irritated by its inclusion for drawing attention away from other interesting events and going nowhere. 

Secondly, there's all the drama with Harry Osborn that carries no weight because the audience has absolutely no pre-existing connection to Dane DeHaan's self-loathing Harry. Harry comes off as a irritable, whiny nuisance who faces an ill-conceived sickness that can magically be cured with Spider-Man's blood?... His transformation into the Green Goblin feels contrived for the sake of including a rather revolting rendition of the Green Goblin. At least, Raimi realized he needed to carry Harry's descent into villainy across three movies and Harry's arc to becoming the Hobgoblin occurs naturally throughout the trilogy. However, The Amazing Spider-Man 2 introduces Harry to viewers, hoping audiences will grasp the connection between him and Peter despite their cold scenes together and it definitely doesn't work. 

The Amazing Spider-Man 2 also incorporates side-antagonists Electro and Rhino, to which many like to point out doomed this project from the get-go, but I think it has more to do with the abundance of plot points and Sony's over-insistence to jump-start a new shared universe no-one really wanted. Sure, the use of three different evil-doers naturally handicaps the narrative because it takes focus away from the other two but it's not the primary problem. Would the movie have been better if Sony and Webb agreed to only concentrate on one villain? Maybe, but in reality there's essentially two threats. 

Paul Giamatti's Aleksei Sytsevich (aka the Rhino) is only in two sequences book-ending The Amazing Spider-Man 2 so you'd be hard-pressed to really call him one of Spider-Man's foremost foes in this movie. That leaves you with Electro and the Green Goblin, who never really fight Peter together even though they join forces to break into Oscorp for about five minutes. The film's a mess and that's without mentioning the drab dubstep dragged together by Hans Zimmer, The Magnificent Six (Junkie XL and Michael Einzinger), Johnny Marr, and Pharrell Williams. The more character-resonant orchestral compositions are striking because they completely contradict the rest of the score by enhancing the onscreen events. These themes are greatly appreciated in comparison though because they sound epic and befitting to the character of Spider-Man rather than included for the sake of popularity. 

Despite all the storytelling shortcomings, there are actually redeeming qualities that enhance The Amazing Spider-Man 2 and are the reason I ever enjoyed it to begin with. Most notably, Andrew Garfield's take on the wall-crawler. Over the course of the movie, Peter demonstrates his heroism in many ways but there's one sweet scene where he swings down to help a young boy who was being bullied that has always stuck out to me. He not only helps rebuild the boy's windmill but escorts him home and actually engages in comforting conversation with the boy. I've always felt it's moments like these that define Peter as the friendly, neighborhood Spider-Man and drew me to the character in the first place so seeing a feature length, effects heavy blockbuster take the time to interject a scene like this is heartwarming to say the least. 

On the other hand, The Amazing Spider-Man 2 features numerous slick action sequences for Spidey to shine including a mad scramble through the city involving Plutonium, the Electro's antics in Time Square, a shocking sequence at a power plant and then a ticking, terrifying fight in a clock tower. All of these set-pieces utilize a plethora of visual effects and I've got to say they hold up remarkably well as Electro looks like he zipped right out of the Ultimate Spider-Man comics. I believe credit is also due to the costuming department for weaving an outfit for Spidey that bears the resemblance of his trademark tights with the well-known webbing and eminent engorging eyes. 

The stand-out sequence though is undeniably the clocktower fight depicting the death of Gwen Stacy. Upon rewatch, I watched a majority of the film with little-to-no reaction but this scene still mangled to elicit an emotional response from me because it's so heart-wrenching. This carries the story significance of following through on Peter's worst fears and invokes the realization that those closest to him will always be in jeopardy due to his super-heroics. Sorry for that morbid detour but I felt Gwen's death is such a key part of The Amazing Spider-Man 2 that it couldn't be avoided in this discussion. 

Of course, the shining stars of The Amazing Spider-Man movies were Andrew Garfield and Emma Stone due to their illustrious pairing and how well they fit their respective roles. I always felt their relationship seemed infinitely more believable than the pairing of Maguire and Dunst because the sparks never stop flying between the two. While I've found his Peter Parker to exhibit some creepy characteristics upon subsequent revisits, there's no denying that Garfield knocks it out of the park when he puts on the mask and Stone charms your socks off as Gwen Stacy. Sally Field is also deserving of recognition for her hefty contribution in the dramatic department as Aunt May. 

I touched on each of the villains to some degree earlier in my review but DeHaan's Osborn is cold and calculating, Jamie Fox's rendition of Max Dilon is kooky and unsettling and Paul Giamatti's Rhino is nothing more than a thinly sketched Russian caricature. There's no assistance from the supporting ensemble who do little more than progress the plot so it's ironically entirely up to Garfield, Stone, and Field to save the day. 

In summary, The Amazing Spider-Man 2 undoubtedly has its merits with outstanding leads and memorable moments scattered throughout, but it ultimately gets dragged down from gleefully swinging about New York by Sony's overcrowded ambition.

Film Assessment: C-

Throwback Thursday Review: 'The Amazing Spider-Man'

Sorry for the delayed review but this week I'm wrapping up my Spider-Man series of reviews with a Throwback Thursday Review of The Amazing Spider-Man and Recollection Reflection Review of The Amazing Spider-Man 2. I've already published my review of Spider-Man: Homecoming, so click on the blue hyperlink if you want to check that out. Next week I'll be publishing a Throwback Thursday Reviews for Rise of the Planet of the Apes, a Triple-R Review over Dawn of the Planet of the Apes, and a review for War for the Planet of the Apes. Reviews you can expect to see through the month include Throwback Thursday Reviews of Inception and Shaun of the Dead in addition to reviews of new releases Dunkirk, Valerian and the City of a Thousand Planets, The Emoji Movie, and Atomic Blonde.

'The Amazing Spider-Man' Review

The Amazing Spider-Man accompanies an orphaned, teenage Peter Parker as he seeks to learn the truth behind his parents disappearance several years ago. His investigation leads him to Oscorp, where he's bitten by a radioactive spider and begins to exhibit extraordinary abilities. Once tragedy befalls Parker's family, Parker realizes he must use his powers to help others and fight crime as the Amazing Spider-Man. 

In The Amazing Spider-Man, director Marc Webb sought to deliver a new grounded take on the web-slinger's origins. Webb's interpretation retained the crucial components of the traditional origin story but shifted its focus in a different direction. Webb's spidey flicks centered on many mysteries surrounding Spider-Man that were never explored in Raimi's trilogy such as what happened to Peter's parents. Webb even forged a new path for the wall-crawler with a darker, realistic tone, grounding Peter in our reality rather than positioning him in the context of a campy comic book. 

While I feel Webb's ideas had merit, the darker tone simply doesn't fit the character as snuggly considering Spider-Man is a character who's meant to have fun. Sure, Spider quips a lot but the angst and realism almost feel contradictory to the inconceivable events. Webb is able to get the web-head swinging but it takes some time to pick up speed as the first half of The Amazing Spider-Man is bogged down by the well-worn origin story beats. 

Screenwriters James Vanderbilt, Alvin Sargent, and Steve Kloves were tasked with weaving a new narrative web for the slinging franchise to inhabit that was relatively reminiscent of what had come before while including distinct differentiation where possible. Vanderbilt, Sargent, and Kloves stride sufficiently in that regard but never quite escape the shadow of the spectacular storytelling showcased in Raimi's trilogy. The third act's admittedly very unbalanced as the writers frantically search for a coherent ending to no avail but they do manage to uncover some underlying emotional elements to help swing things in The Amazing Spider-Man's favor.

Where The Amazing Spider-Man shines is in the stylistic sequences of Spidey swinging around New York and the action set-pieces. Each battle between Spider-Man and the Lizard remains fairly entertaining, even though they never quite reaches the visceral heights of Raimi's energetic action. The visual effects are excellent and have held up well over time as the Lizard looks like he leapt straight out of a comic book into the real world. I also always liked the design of this Spider-Man suit and the inclusion of web-shooters as they were nice nods to the web-head's source material. James Horner composes a score suited to this version of the character but it's nowhere near as exciting as any of Elfman's themes. The Amazing Spider-Man's most accomplished asset though is undoubtedly its capable cast.

Andrew Garfield brought new life to the web-slinger with a charming and endearing attitude. I never quite bought into his version of Peter Parker since he exhibited more of an angsty teen hipster than an actual nerd but I've always enjoyed his take on Spidey. Garfield not only had the physicality for the role but he nails the line delivery anytime he's wearing the suit. I always bought into his quippy demeanor and felt he perfectly translated that aspect of the character.

Opposite Garfield, Emma Stone imbues Gwen Stacy with intelligence, determination, and a relentless dedication to set her aside from falling into the archetype of damsel-in-distress. Stone also stands apart from just being "the love interest" also thanks to her spunky go-getter personality that enables her to have a hand in the unraveling events. Stone and Garfield were dating at the time but their dynamic has always been one of the saving graces of this franchise since their chemistry was off the charts and the romance felt incredibly authentic. 

Filling out the supporting ranks, Martin Sheen and Sally Field serve as proficient parental figures in Peter's life as Uncle Ben and Aunt May. Both actors convincingly expressed concern and worry for Peter without over-doing any of the anxiety while Dennis Leary's Captain Stacy exhibits all the tenacity that would accompany the heading the NYPD and the unease of an overprotective dad.

Elsewhere, Rhys Ifans brilliantly brings a dual-pronged portrayal of Doctor Curt Connors as a brilliant mind that makes a rapid descent to becoming a mad reptilian scientist. Ifans' Dr. Connors doesn't hold a candle to previous Spidey rogues but he serves his purpose here admirably. 

Even though its no longer the new kid on the block, The Amazing Spider-Man still swings around as a relatively sufficient reboot that's buoyed by its lead performers and stylistic flair. 

Film Assessment: B-

'La La Land' Review

Nominated For: Best Picture, Best Director; Damien Chazelle, Best Actor; Ryan Gosling, Best Actress; Emma Stone, Best Original Screenplay, Best Film Editing, Best Cinematography, Best Production Design, Best Costume Design, Best Sound Editing, Best Sound Mixing, Best Original Song "Audition (The Fools Who Dream)" (written by Justin Hurwitz, Benj Pasek, and Justin Paul), Best Original Song "City of Stars" (written by Justin Hurwitz, Benj Pasek, and Justin Paul), and Best Original Score.

Won: Best Picture, Best Director; Damien Chazelle, Best Actress; Emma Stone, Best Cinematography, Best Production Design, Best Original Song "City of Stars" (written by Justin Hurwitz, Benj Pasek, and Justin Paul), and Best Original Score.

La La Land is a musical that tells the story of a chance encounter during a LA traffic jam between Mia, an aspiring actress who hopes to make it big, and Sebastian, a gifted jazz pianist who dreams of opening his own jazz club, and the intertwining of the fates from that point on. 

La La Land is the first original live action cinematic musical since Newsies written and directed by up-and-comer Damien Chazelle, the writer-director behind Whiplash, and currently stands as one of the major contenders this awards season. Chazelle clearly is passionate about music, jazz music in particular, and that's heavily evidenced in La La Land. Chazelle channels his admirations into a musical that not only pays homage to old-school Hollywood musicals with illustrious song and dance numbers that will sweep you off your feet but maintains realism with its modern scope and setting. Chazelle's screenplay doesn't simply glorify all that comes with pursuing your dreams but actually points out that success often comes at the cost of personal sacrifice. 

Elsewhere, La La Land's technical elements prove to be up to snuff as cinematographer Linus Sandgren captures stupendous one-take sequences, editor Tom Cross gives the musical the alluring air of a classic MGM musical, and the colorful costuming and picture-perfect production design make a quant backdrop to the sensational musical numbers that are extremely well-choreographed by Mandy Moore. 

Justin Hurwitz composes a engrossing array of music with jazzy jives, romantic refrains, and tender tunes including the upbeat opening number "Another Day Of Sun", optimistic anthem "Someone In The Crowd", swinging tap number "A Lovely Night", the pleasant melody "City of Stars", and Emma Stone's sensational solo "Audition (The Fools Who Dream)" to name a few standouts.

La La Land also happens to feature an exceptional pair of leads as Emma Stone puts her best foot forward bringing an earnest, hopeful, and optimistic persona to Mia and Ryan Gosling channels charming sensibilities and a passionate demeanor into Sebastian.The chemistry between the two is magical and the basis of the film's idyllic aura. Both knocked my socks off with their musical repertoire, dancing with sharp precision and singing their hearts out, and Gosling even learned how to play piano (which is evidenced in some long takes). The film's supporting cast largely play second fiddle to the ongoing romance but John Legend gets a crowd-pleasing song with "Start A Fire" and J.K. Simmons plays a bitter restaurant manager and both are fine in the capacity utilized. 

In conclusion, La La Land is definitely one of the best films this year thanks to brilliant direction, a vibrant color palette enhanced by dreamy cinematography, a pair of leads with enchanting chemistry, and extraordinary music. La La Land really is cinematic bliss and truly an escapist's wonder to behold.

Film Assessment: A+

Recollection Reflection Review: 'Birdman or (The Unexpected Virtue Of Ignorance)'

Surprise! I'm introducing a new form of review today called a "Recollection Reflection Review" or a "Triple R". Since I've started my reviews, I've continually grown in my ability to analyze film and recently I've wanted to develop an interesting way to go back and revisit some of these reviews to properly assess the film hence the creation of "Triple R". As the title of these reviews suggest, I will Recollect how I initially felt about the film, reflect on if my opinion changed over time and properly review the film. "Triple R" will work a little differently than Throwback Thursday Reviews because there won't be a set day that I do a "Triple R" as it will be a bit spontaneous but always relate to either a new film release or some current event. "Triple R" also won't be a weekly installment but rather about once or twice a month. "Triple R" will always be of a film I've previously reviewed as older films I haven't reviewed are more reserved for Throwback Thursday Reviews. This "Triple R" is for Birdman or (The Unexpected Virtue Of Ignorance) because the Oscars were this week and felt it would be a perfect opportunity to revisit last year's Best Picture winter that's one of my favorite films.

'Birdman or (The Unexpected Virtue Of Ignorance)' Review

Nominated for: Best Picture, Best Director; Alejandro González Iñárritu, Best Actor; Michael Keaton, Best Supporting Actor; Edward Norton, Best Supporting Actress; Emma Stone, Best Original Screenplay, Best Cinematography, Best Sound Editing, and Best Sound Mixing.
Won: Best Picture, Best Director; Alejandro González Iñárritu, Best Original Screenplay, and Best Cinematography.

Recollection- Birdman or (The Unexpected Virtue Of Ignorance) Review
Reflection- My opinion of Birdman or (The Unexpected Virtue Of Ignorance) hasn't really changed since I've seen it and I don't expect it to since I have a vast mount of respect for the filmmaking behind it as well as the film itself.
Review- Birdman or (The Unexpected Virtue Of Ignorance) tells the fictional story of Riggan Thomson, a former blockbuster star best remembered for portraying the superhero Birdman, who now looks to direct, write, and star in his own Broadway show to prove he's not a washed up celebrity. Alejandro González Iñárritu, who won his first Best Director Academy Award for this film, stretches the boundaries of filmmaking by creating a film that's scenes are stitched together seamlessly as though it was all filmed in one continuous take. Iñárritu's vision made for what seems like a two hour long tracking shot thanks to such clear editing and camerawork. This was brought to life thanks to Iñárritu's collaboration with cinematographer, Emmanuel Lubezki. The sequences not only appear to be one long take, but also involve a lot of camera movement. This movement manages to simultaneously maintain focus on the story and allow for some gorgeous shots. The film not only has stunning cinematography, terrific direction, but also has a fantastic story and spectacular performances. The talented A-list cast is lead by Keaton, who is just exceptional. Keaton gets to demonstrate a full range playing a conflicted man in Riggan Thomson, whose past is constantly haunting him, where Keaton as Birdman makes a few hallucinatory appearances. Keaton is supported by Emma Stone and Edward Norton, who both are given rich characters with their own respective baggage. Other notable performances included Zach Galifianakis as Keaton's manager and Naomi Watts as one of Thomson's cast members in the production who both are serviceable in their capacity but by no means scene-stealers. All of these elements weave together to make a spectacular film and Birdman or (The Unexpected Virtue Of Ignorance) certainly held up to how I remembered it and I still feel it was deserving of its Best Picture victory last year.

Film Assessment: A+

'Birdman or (The Unexpected Virtue Of Ignorance)' Review

Nominated for: Best Picture, Best Director; Alejandro González Iñárritu, Best Actor; Michael Keaton, Best Supporting Actor; Edward Norton, Best Supporting Actress; Emma Stone, Best Original Screenplay, Best Cinematography, Best Sound Editing, and Best Sound Mixing.
Won: Best Picture, Best Director; Alejandro González Iñárritu, Best Original Screenplay, and Best Cinematography.

I loved this film and how Birdman looked as though it was taken in one long continuous take. Michael Keaton gives an amazing performance. Edward Norton and Emma Stone both also give great performances with a lot of depth for their respective characters. I really liked the under lying themes present in Birdman as well as the cinematography and the screen writing for the film. I can not stress how great this film is and I recommend you check it out when you have the chance.

Film Assessment: A+

'Amazing Spider-Man 2' Review

The Amazing Spider-Man 2 truly was amazing! Overall, this is definitely the best Spider-Man movie made so far! The visuals were truly amazing! The cast did a great job and worked well together. Especially Aunt May and Peter along with Gwen and Peter. I loved the J. Jonah Jameson references and hope he will show up in the next movie. I enjoyed Jamie Fox's performance as Electro, along with Andrew Garfield, Emma Stone, and Dane Dehaan was much better than James Franco. However, it was overcrowded with characters, but it managed to be well balanced. Overall, a great superhero film!