While Sam Raimi's third Spider-Man film might be a tear-inducing memory for many of us, there are a handful of Hollywood names who owe their big screen careers to the trilogy. Known best for their work on television, the likes of James Franco and Topher Grace joined the world of cinema with Raimi's series. And this promotion of sorts seems to carry forth in director Marc Webb's Amazing Spider-Man reboot. The filmmaker, who has been tweeting a slew of pictures from the set of his developing second Peter Parker chapter, reveals the inclusion of one B.J. Novak in the cast — the actor known best as Ryan Howard, the egomaniacal temp/executive from The Office.
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Novak is revealed in a joyless pair of specs in the below image from the Amazing Spider-Man 2 set. Although a small but prominent role in Quentin Tarantino's Inglourious basterds predicted a transition to film for the actor, we have yet to see him continue a cinematic streak. But this surprise turn in the Marvel venture could mean bright things for Novak's big screen future. Click the image below to see more pics from the Amazing Spider-Man 2 set.
Novak is also slated to appear in the comedy The Internship and the dramatic biography film Saving Mr. Banks. The Amazing Spider-Man 2 will hit theaters in spring of 2014.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
[Photo Credit: Twitter]
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Production on The Amazing Spider-Man 2 is in full swing, with Andrew Garfield back as the friendly neighborhood crime fighter and Emma Stone as his blonde braniac girlfriend Gwen Stacey. As was the case with the original movie, director Marc Webb is taking his two leads out into the streets of New York City to film his webslinging hero in real locations. A superhero movie needs all the authenticity it can get, and it doesn't get more "real" than Garfield dangling from the rooftops of skyscrapers.
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And like the The Amazing Spider-Man's outdoor circus, the paparazzi are already out in full force to give us our first, raw glimpse at the new movie. To beat the savvy photographers to the punch, Sony has give us this look at the new and improved Spider-Man costume, in the form of a shiny one-sheet that has our Spidey Sense tingling.
Unlike the first movie's dark, moody interpretation of the iconic suit, ASM2 is brightening things up and bringing Peter Parker's costumed look closer to the popping colors of the comic books (not too far off from what Sam Raimi did with his original trilogy). But the poster only paints half a picture. Luckily, the paparazzi picked up on Spidey's New York City whereabouts as soon as cameras started rolling and snapped this on-set pic:
Yes, that's Spider-Man, alright — and this go around, he even has his belt back. Purists, take a deep breath.
If that weren't enough, Webb continues to seize control of the Twittersphere by rattling off set pictures straight from his iPhone. See all the director's teasing Twitpics in our Amazing Spider-Man Set Pics gallery.
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Along with Garfiend and Stone, The Amazing Spider-Man 2 sports an all-star cast of Jamie Foxx, Sally Field, Paul Giamatti, Shailene Woodley, Dane DeHaan, and Felicity Jones. The movie arrives in theaters May 2, 2014.
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Marvel/Columbia Pictures; Jose Perez/Splash News]
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The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.