In re-engineering Parker into the introspective, uncertain male more typical of his previous film, Webb is aided by a terrific performance from Andrew Garfield, who brings a genial unflappability that allows him to negotiate the often-ludicrous demands of the superhero plotline. Parker is generally reckoned to be the most "relatable" figure in the superhero canon, but the pastel-bright synthetics of the earlier movies did little to dispel the sense that the comic-book world could only construct its characters out of clunking great blocks of melodrama. Parker's abandonment issues have nevertheless loomed large in all Spider-Man films, and those looking for deeper shading of Parker's emotional make-up will no doubt be pleased to see them.īe that as it may, Webb successfully treads a fine line between keeping the hardcore superhero-movie fans happy and injecting a dose of meaningful affect. Perhaps most radically, we are also introduced briefly to Parker's parents, never seen, and only rarely mentioned, in the Raimi films. Moreover, the central love interest here isn't girl-next-door Mary Jane Watson, but the considerably kookier Gwen Stacy (Emma Stone), promoted from a more incidental role in Spider-Man 3. Parker, as played by Andrew Garfield, is no hapless super-nerd, but a mumbling, shambling skateboarder who, though perhaps not extra-strength catnip to the ladies, has no trouble in catching their eye. This Spider-Man film, which we are forced to call a "reboot", tinkers extensively with the story as presented by Raimi. Xan Brooks and Peter Bradshaw review The Amazing Spider-Man .uk
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