Your friendly neighbourhood Spider-Man is finally future-proof. The Amazing Spider-Man’s two film haul of $1.5 billion was stopped in its tracks with the wintry news of Sony Pictures’ deal with Marvel Studios. Having looked at those two films, now destined to be written out of history, Jokerside looks to the future of Sony’s top superhero franchise… In the bold new ‘world’ of Marvel Cinematic universe. Spider-Man’s not alone anymore.
FOR EVERYTHING THAT CAN CLAIM TO BE PURE MARVEL COMICS, SPIDER-MAN’S AT THE TOP. Until the Dark Knight and the Avengers leaped the billion barrier he was the dominant force in superhero flicks during the formative days of their 21st century cinematic takeover.
The background web
Bucking the rule of diminishing returns
Let’s jump the 1970s TV movies as affecting as they were. The 80s and 90s saw Spidey film rights jump around Hollywood studios like Cannon and Carolco while Tinseltown Alphas like James Cameron and Tobe Hooper circled. The end result was Sam Raimi effective Spider-Man in 2002, a film that served up an eye-watering $821million to prove that the comic movie was ready to seize the heart of the blockbuster season and that the web crawler was top of the pile. By the time Spider-Man 3 was released to lack-lustre reviews five years later, that trilogy had amassed nearly $2.5 billion. By contrast, Fox’s X-Men trilogy, which concluded a year earlier, grossed just over $1.1 billion. Almost inevitably it was Spider-Man’s weaker final entry that took the top spot in his franchise with nearly £900 million. But despite bucking the rule of diminishing returns, the critical stock of the property had fallen sharply as ‘creative pressures’ between director, producers and the studio were clear to see in the finished product.
After some prevarication over a fourth Raimi instalment, Sony’s decision to reboot the franchise five years later, complete with a fresh origin, raised plenty of eyebrows. Just how would the public take to yet another version of that well known Spider-Man origin?
The answer wasn’t too clean cut. 2012’s The Amazing Spider-Man got a lot right. Praised but blockbuster-rookie Marc Webb swung into the director’s seat and produced a confident and stylish film, ably backed by the late James Horner on scoring duties and a fine cast; in particular Andrew Garfield and Emma Stone in central roles that conjured up better chemistry than the Raimi films managed. In all, that was just about enough to power past those unsettling re-origin problems. But it seemed strangely unsure of how it should react to those Raimi films. It set a course closer to the comics but hastily established a great deal of baggage on the way. And the CGI-overload and bland villain’s plot brought to mind some unsettling comparisons with the dark and icy days of the mid 1990’s Batman films.