Orphaned at an early age, Peter lives with his kindly uncle and aunt (veterans Cliff Robertson and Rosemary Harris). The source of this disdain is never explained he is simply a geek and therefore a “freak.” (Note how this concept has dated since Spider-Man’s first comic-book appearance 40 years ago.) Peter Parker is established in the early moments as the 99-pound weakling who gets dissed by his muscular male classmates in a Queens-area high school.

Simmons), wonders in print if perhaps Spider-Man and a villain the editor has dubbed the Green Goblin (and wants royalties on that name!) might not be in cahoots. The fellow even gets bad press: A tough newspaper editor, J. Spider-Man is the hero, and not some element in the filmmaking process.ĭavid Koepp’s efficient screenplay (based, of course, on Stan Lee and Steve Ditko’s Marvel Comic Book series) places you in an alternative reality where the appearance of a superhero is welcome but not entirely remarkable. The film feels contained - its design, visual effects and cinematography all in the right balance and proportion. Steering clear of the grandiose, epic style of the Superman series and the brooding, nightmarish world of Tim Burton’s Batman films, Raimi goes for a comic-book sensibility.

While a number of directors including James Cameron positioned themselves to make the first Spider-Man movie, Raimi was a wonderful choice since he is operating in familiar territory, having directed such serio-comic fantasies as Darkman and Army of Darkness. Spider-Man is the first clear hit film of the summer, so long as you don’t mind summer starting May 3. This Columbia release does what the doctor ordered: It sets up Spider-Man for a tentpole series that will continue a long while (or at least until Maguire tires of the role), provides a satisfying first episode and compelling Jekyll-and-Hyde villain, establishes the hero’s love interest in Kirsten Dunst’s Mary Jane Watson with flaming red hair and leaves enough threads dangling so you’re eager for the next episode.

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