Sam Raimi | 139 mins | cinema | 12A / PG-13
Spider-Man 3 carries the distinct air of a group of people trying to recapture former glories, and the fun they had achieving them, and failing on both counts. There are hints at the things that made the first two (especially the second) movies so good, but they’re relatively poorly executed.
The pacing is shot to shreds, scenes and plot points need rearranging, the villains are less engaging, Venom is shockingly underused, the climax virtually comes out of the blue, and emo-Parker is just plain embarrassing (at first people at least laughed at him in the street, but then there’s the jazz club sequence…) I also spent much of it wondering where most of the massive budget had gone. Yes, there’s the odd action sequence (often with not-that-impressive CGI, it must be said), but much of the film focuses on the ‘human drama’ side of things, much more so than the first two (which were relatively heavy on it for summer movies) and with much less effect. It’s only really in the finale that the budget shows, as if they saved it all up to pour out then.
I’ve wittered on again, in a way I haven’t since Hidden, and all with complaints… but here’s why: the Spider-Man movies were great and, while this one has a relatively ambiguous ending in some respects, this is in so many ways clearly designed as a trilogy-ender. And it disappoints; and it disappoints in the worst possible way, because there are some great germs of ideas here… it just feels like they’ve filmed the second draft instead of letting it be fully polished. It’s a huge shame.

“Everything’s free in America,” goes the famous line; but this film is probably more accurately summed up in its following line: “For a small fee in America”.
It’s easy to see why
Shortly before the release of 
“You’ve heard the story of Jesse James, of how he lived and died; If you’re still in need of something to read, here’s the story of Bonnie and Clyde.”
Godard’s first and most famous film; part of the beginning of the nouvelle vague, a French movement defining a particular youth culture at the time. OK, loose history lesson over.
2007 #45
Empire’s 15th best film of 2006 is very European. “How so”, you may ask? Well, firstly, it is French; but it certainly feels it: it takes a very good concept/plot for a thriller and then stretches it out a little thin, with a notably slow pace, and a concentration on the dramatic impact on characters rather than plot movements. Not necessarily bad things, and it walks a fine line somewhere between them working and them failing (that is to say, it’s not wholly successful). There’s an irritating apparent lack of resolution, though reading one theory in an online review has suggested maybe I missed (or misinterpreted) it.