Columbia Pictures via Everett Collection
Whether it’s Tobey Maguire or Andrew Garfield swinging from building to building, Spider-Man has faced some formidable opponents. Some of these villains have stayed true to their comic book form while others have fallen flat. Here are our rankings from the Spider-Man trilogy and The Amazing Spider-Man.
In theory this could have been great. But the execution felt forced. Thomas Haden Church takes on the role of Flint Marko, a criminal who steps into a particle accelerator and can now control sand. Kind of a lame power, right? The tension feels forced because after two sequels we find out it was Marko who killed Uncle Ben, who was Peter Parker’s father figure. Sandman teams up with Venom, but their efforts fall short. Spider-Man wouldn’t get killed, come on now.
4. Green Goblin
Played expertly by Willem Dafoe, Green Goblin is a deranged bad guy who poses a major threat to Spider-Man. His powers stay true to the comics, tossing pumpkin bombs and flying through the air with his Glider. The Goblin is really millionaire Norman Osborn, who eventually finds out that the webslinger is really Peter Parker. As a major villain, Green Goblin is a threat, but not a threat to the rest of the world.
Another victim of the lackluster Spider-Man 3, Venom had potential to be the top villain. Unfortunately, this Venom was not faithful to the comic book at all. Venom is really Eddie Brock, a beefy journalist who possess incredible strength and that’s before an alien symbiote invades his body. Topher Grace is not buff at all. Where was Dwayne “The Rock” Johnson for this casting? Venom is still a credible bad guy with his alien superpowers. Like the Goblin, he doesn’t pose a huge threat to society.
His strength and speed are extremely dangerous and he has a nefarious plan to change humans into lizards. Rhys Ifans plays Dr. Curtis Connors, who transforms into a giant lizard thanks to a science experiment gone bad. Lizard climbs near the top of this list because his grand scheme is a big threat to all of humanity, not just your friendly neighborhood Spider-Man.
1. Dr. Octopus
Watch out! As long as Doc Ock is around, the world could be doomed. Dr. Octopus (Alfred Molina) is the toughest enemy in the Spider-Man films universe. Dangerous mechanical arms make sure Doc can match strength with anybody and his experiments with nuclear fusion reach out-of-control levels that threaten the existence of every human. Otto Octavius had to be stopped — this proved to be Spidey’s most difficult task.
This year, BET's Being Mary Jane totally nailed it: creator Mara Brock Akil had the number one original series debut on cable for the 2013-14 television season. Five million viewers tuned into the season premiere, and with good reason. The protagonist, Mary Jane Parker (played by Gabrielle Union) is fascinating and complex, the love triangles (and quadrangles... or squares... or trapezoids) are intense, and the music offers a fantastic soundtrack for all of that drama. But we're here to celebrate the one extra-special reason folks are tuning in: the crazy-hot sex scenes that just won't quit. Mary Jane has had a quite a busy season thus far, and we've all been enjoying it immensely. So join us as we reminisce about some of the unforgettably steamy NSFW moments from Being Mary Jane.
The Only Shower Scene That Matters
From this point on, we shall no longer think of Norman Bates dressed up as his mama and wielding a knife when someone makes reference to a shower scene. Now, the only shower scene that matters is this one, in which Mary Jane runs into the one guy she'd been avoiding at the gym promises to place you firmly on Team Andre. Firmly. Until...
That Awkward Moment When You Find Yourself on #TeamAvery
For the most part, viewers are rooting for Union's character to make it work with Omari Hardwick's Andre, mainly because... well... did you see the shower scene? Those two are hot! But in a recent episode, Andre got into a heated argument with his wife, which resulted in some insanely steamy make-up loving. Although the Avery/Andre reunion didn't last very long, it was an unforgettable scene and for a moment, a few of us found ourselves on Team Avery.
David's First Hello
If you're not watching the show you missed that first episode where — SPOILER ALERT — Mary Jane may or may not have stolen this guy's sperm. But before the stolen babymakers comes the love-makin', and when David showed up with a bag of chips and asked if she'd be "down for some consensual sex," the two of them were actually pretty good together. It also helps that Union's body is the definition of flawless, so pretty much every scene where she's rocking a t-shirt and panties (because it's all about the t-shirt and panties) is hot.
Self Love Is The Best Love
We're not gonna lie. That scene? Where Mary Jane — how do you put this delicately? — provided herself with self love? At work?! Kind of a big deal. She opened up about preparing for the experience in a recent interview. Not only was the scene hot, but it was both humorous and progressive, and sort of made us feel like there should be more women masturbating on television. Ya know. For feminism.
So now you're feeling some combination of completely entertained and shamefully dirty. Watch Being Mary Jane to keep that feeling going.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.