Critical popcorn

Sam Raimi’s Spider-Man 2 (2004) is quite possibly the greatest superhero film ever made: a deeply character-focused story about Peter Parker (Tobey Maguire) struggling to balance his life as a university student, working two jobs to pay rent and being New York’s friendly neighbourhood Spider-Man. Getting to see the film on the big screen last year for the first time since 2004 (20 years ago!) was a spectacular experience, and helped to provide a new perspective on a film which quite honestly defined a part of my childhood.

So much of both Spider-Man (2002) and Spider-Man 2 is built around the “will-they-won’t-they” romance between Peter and Mary Jane (Kirsten Dunst). It seems as though life (both ‘real’ and superhero) keeps getting in the way of their would-be romance, and Peter’s constant lying to cover his super-powered alter ego isn’t helping, making his mask-off moment at the climax of the second film incredibly satisfying. For the first time, Mary Jane can understand Peter, and he can be honest with her, so much so that she’s willing to leave her wealthy, good-looking astronaut fiancé at the alter to give their romance another shot. It’s a beautiful parallel to the ending of the first film, and a rare moment of unbridled joy for both characters. (Also, one can’t help but laugh at the comic timing of J.K. Simmons’ J. Jonah Jameson peers out towards the camera in the church.)

This romantic resolution isn’t quite the ending of the film though, as NYC needs Spidey and Peter must leave for one of the best web-swinging sequences in any Spider-Man film to date, with some amazing visual effects work that still holds up two decades on. It’s an incredible visual to close a huge $200 million blockbuster on, yet Sam Raimi knows better than to end on simple eye-candy, instead briefly reuniting the audience with Mary Jane as she stares out at the love of her life, realising the challenges their relationship will fall into and the conflicts they will face (beyond supervillains). It’s a bittersweet final shot, and one which perfectly sows the seeds of the characters’ conflict in Spider-Man 3 (2007), but that’s a whole other film.

With acclaimed cinematographer Bill Pope behind the camera, Danny Elfman’s score taking over the sound mix and director Sam Raimi’s deft balance of blockbuster spectacle and intimate character drama, Spider-Man 2 ends on an incredibly satisfying note, making for one of my favourite films of all-time.

Endings are always challenging, and while a good cliffhanger keeps us guessing and a conclusive one leaves us contented, I’m always a fan of open endings, and it’s difficult not to hope that this is the case for Critical Popcorn as it closes its online doors. It’s been an immense pleasure contributing towards the site, and I’ve loved the opportunities that writing here has provided me, but I would also like to take a moment to acknowledge everyone else who wrote for Critical Popcorn, who have introduced me to films, television and more that I simply wouldn’t have discovered and enjoyed otherwise.

Pete Messum