’s worst moments — was that they were hopelessly cheesy and hokey, and didn’t speak to the zeitgeist like the darker, grittier superhero movies that came into fashion in the late 2000s and early 2010s.again? It can’t just be that they’re good. In the 2020s, there are more good comic-book movies about more superheroes than any Marvel or DC fan would have ever dreamed of just a few decades ago. Some of these new films’ special effects put the groundbreaking ones in Raimi’s trilogy to shame.
I suspect the reason for the Raimiverse’s revitalized rep comes from a deeper place within the film than superficial thrills or aesthetics.
That sequence is relatively realistic in comparison to Peter’s big pep talk to himself a few scenes earlier — which takes the form of a full-on Shakespearean soliloquy.
Is it sappy? Sure, a little. It’s also one of the more heartfelt tributes to the concept of heroism in any movie of the last 20 years. The recent Marvel and DC universes are filled with power fantasies and gentle satires, and even a fair number of films that critique the idea that a superhuman should automatically and thoughtlessly use their powers to help others.
Raimi, in contrast, embraced and celebrated every potentially goofy or corny aspect of the Spider-Man mythos. Spider-Man wears a version of his classic red and blue costume, and he becomes a hero only after he first tries to get rich as a professional wrestler. He had J.K. Simmons play Spider-Man’s journalistic adversary J. Jonah Jameson with the character’s absurd flattop hairdo.
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