| Columbia Pictures | Release Date: May 4, 2007 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
25
Mixed:
13
Negative:
2
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Critic Reviews
There are plenty of pleasures here: The slow birth of the Sandman from a heap of supercharged sand crystals (or something) is a marvel of digital animation, and the chemistry between Dunst and Maguire feels like the dynamic of a real couple, full of subtle shifts and eloquent silences.
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In short, there are way too many storylines here, especially for a movie that turns stiff whenever it's on the ground. When cascading through the cityscape, Spider-Man 3 still makes us gasp with delight, but on Earth those gasps come solely in reaction to the cynical dreariness of the script.
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Given how bogus the movie is whenever it departs from formula, it's not surprising that the funniest bit (in which Peter Parker becomes a disco smoothie) is stolen from Jerry Lewis's "The Nutty Professor" or that the best special effects, involving a gigantic Sandman, dimly echo "King Kong."
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A sense of strain envelops the proceedings this time around. One can feel the effort required to suit up one more time, come up with fresh variations on a winning formula and inject urgency into a format that basically needs to be repeated and, due to audience expectations, can't be toyed with or deepened very much.
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The bittersweet paradox of this franchise is that while the stories have grown progressively less interesting the special effects have improved tremendously, becoming at once more plausible -- when Spider-Man swings through the urban canyons he finally looks almost real -- and more spectacular.
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Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.
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That's the problem with this third installment of the franchise: not that it's running out of ideas, or lifting them too slavishly from the original comic, but that it lunges at them with an infantile lack of grace, throwing money at one special effect after another and praying--or calculating--that some of them will fly.
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The satirical jabs at celebrity culture smell like rotted leftovers from "The Fantastic Four." The token ruminations on the tension between a superhero's public and private lives seem flown in from Bryan Singer's "Superman Returns" (to say nothing of Raimi's own, superior "Darkman"). Most egregious, though, is the way Raimi and the writers reduce Spider-Man 3 to the very sort of abject distinctions between virtue and sin that the series has heretofore studiously avoided.
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