Top 100 of all time - # 36-40

Moving into the 30's, we get our first Scorsese film, another Hitchcock, some De Niro, and a lesser known, yet masterfully done crime noir flick. A little edit job done - The Manchurian Candidate was not good enough to show up twice on the list. It stands at #95, while 1980's classic Stand By Me should be in its place at #50.

#40 - The Silence of the Lambs, 1991.

Anthony Hopkins is frightening as the cerebral serial killer, Hannibal Lecter. Spawning a handful of sequels and prequels based on the Thomas Harris novels and characters, none quite lived up to this one. Lecter helps Jodie Foster's Clarice Starling track down an active serial killer in one of the most smartly written suspense films of the early 90's. Lecter has many memorable lines, and the film hit the superfecta of Best Actor, Actress, Director, Picture, and Adapted Screenplay. Granted, it was a somewhat weak year, but Silence of the Lambs is a must see. If you haven't yet had the pleasure, you should probably see it alone on a dark Saturday night.

#39 - North by Northwest, 1959.

The third and final Hitchcock film on my top 100 list, this case of mistaken identity haunts an innocent man as we witness great scenery from around the country, and a few of the better action sequences of the time (biplane, Mount Rushmore). Cary Grant is great in his fourth pairing with Hitchcock, and although it is a bit cheesy now, if you put yourself in 1959, I'm sure it was amazing.

#38 - Taxi Driver, 1976.

Damn you, Peter Finch. Robert De Niro is spectacular and menacing as he transforms from taxi driver to monster, all in the name of a misguided sense of justice and protection. This probably should have been his first Best Actor Oscar, and would have put him in the lone company of Jack Nicholson as 3 time winners (2 Best Actor, 1 Best Supporting Actor). The gritty, seedy vision of the New York nightlife in the late 70's is unforgettable, and only Scorsese can bring it to life in such a way.

#37 - LA Confidential, 1997.

This is the type of film that grows on you. It requires a second or third viewing to truly appreciate the artful work of Curtis Hanson. The performances by Guy Pearce, Kevin Spacey, and Kim Basinger are exceptional, but for me, Russell Crowe made this film. It was one of his first American mainstream roles, and shows us the side of him that we didn't get to see again until Gladiator.

#36 - Raging Bull, 1980.

Scorsese's second of three films to land on this list, the film was shot in 1980, but it feels like the 1950's with bad makeup. The makeup might be terrible, but De Niro gains and loses weight like Christian Bale (Machinist...) and plays Jake La Motta with true professionalism. He becomes him and shows exactly, and more of what La Motta intended with his autobiography. Released shortly after Rocky, this film had the realism and acting that Rocky lacked, and introduced us to the fireplug Joe Pesci. Great film in so many ways.

Well, that's it for this installment. Stay tuned for #30 - 35...

Top 100 of all time - # 41-45

The next five on the list are a diverse bunch, but all greats in their own way. Making our way toward the top ten, here are numbers 45 - 41.

#45 - American History X, 1998.

Director Tony Kaye hasn't done much before or since American History X, but this modern Nazi-themed tragedy is Ed Norton's best performance and pulls no punches exploring racism, injustice, and emotional angst. A dark, but worthy entry on the list.

#44 - Rear Window, 1954.

Jimmy Stewart and Alfred Hitchcock. What's not to love? This film gives voyeurism a cautionary tale and gives us a peek at some great camerawork. The tension is in the unknown and unseen, as with much of Hitchcock's work, and this is definitely one of the better ones.

#43 - Pulp Fiction, 1994.

Quentin Tarantino's Reservoir Dogs was a great and underrated film, but Pulp Fiction revolutionized cool. Taking influences from all over the map and just about every genre imaginable, Tarantino uses his love of film to create some of the most captivating use of banal dialogue imaginable. Pulp Fiction resurrected John Travolta's career and was just an original movie in a time that needed it.

#42 - The Usual Suspects, 1995.

Kaiser Soze. His name evokes one of the most brilliantly written movie endings in recent memory. All else equal, the first time you see the climax, and the pieces fall into place, it is shocking and you only want to talk about it, and then see it again. Too bad Christopher McQuarrie couldn't sustain the hype as a writer. The good news is that he has at least 4 films in development right now, and one of them is Top Gun 2 (no joke). Maybe his name will rise like Maverick. Too much?

#41 - Psycho, 1960.

Another of Hitchcock's greats, Psycho was just plain creepy. There is the comfort and safety of "mother" living in the house behind the Bates Motel for the whole film, and then you find out the truth, and there is a collapse of isolation that is chilling and frightening. Again, Hitchcock was a true master of suspense; not by what he showed, but by what he let the viewer's imagination conceive.

Stay tuned for the 30's...

Top 100 of all time - # 46-50

My next 5 films start to show some of my personal tastes that might seem out of place on a top 100 list, but this is after all my list and one of the criteria I mentioned is the effect that the film had on me upon first viewing. That's something that is vastly underrated in the critical arena. Many reviewers look for something that will stand the test of time, but in fact, a film's first viewing is often magical beyond the quality of the acting, directing, etc.

#50 - Stand By Me, 1986.

The Stephen King coming of age story that introduced me to leeches, and forever turned me off of pie eating contests. The casual banter between the friends was the stuff that kid movies are made of. Unfortunately, this isn't entirely a kid movie. River Phoenix, whose life was cut tragically short, makes you wonder, "what if?" Probably he would have a statue or two on his mantle by now. The rest of the cast, including a fat and unrecognizable Jerry O'Connell, Corey Feldman, and Wil Wheaton are great. I was 8 at the time it came out, but it was very influential in my life.

#49 - Forrest Gump, 1994.

Tom Hanks becomes the 2nd Actor ever to win consecutive Best Actor Oscars (Spencer Tracy) with his wonderful character portrayal of the simple man with a heart of gold and a wild and incredible adventure that is his life. Robert Zemeckis' best film to date (check out this Fall's Flight), and just a fun film that is a metaphor for living your life to the fullest and doing good things.

#48 - Se7en, 1995.

David Fincher's coming out party was a surprise hit, and blew me away in the theatre. Dark and gritty, the surprise ending is built with such delicate tension that once the climax is reached, you find yourself on the edge of your seat, heart racing, breathless. It's a masterpiece of the genre, and is worth a second view if it's been awhile. If you haven't seen it, brace yourself and put it on your Netflix for a dark Saturday night.

#47 - Bonnie and Clyde, 1967.

The tragic love story received multiple Oscar nominations, but was overshadowed by a great list of entries: The Graduate, In the Heat of the Night, Guess Who's Coming to Dinner, Cool Hand Luke, In Cold Blood, The Dirty Dozen, etc. It was a fantastic year for film. I digress. The chemistry of a young, cocky Warren Beatty and an even younger and beautiful Faye Dunaway evokes classic cinema at its purest. A great story with a wonderful Gene Wilder cameo (although he wasn't famous yet, so technically not a cameo).

#46 - Alien, 1979.

Arguably the genre-defining film, Ridley Scott blew away everything we knew about sci-fi horror, and gave me more than a few nightmares in the process. Thanks, Ridley. Alien also revolutionized the idea that a woman can be a strong action hero, which was a refreshing change. The music, creature effects, claustrophobic story, and direction make this one of the best, well... alien films of all time.

Top 100 of all time - # 51-55

In the last five of the bottom half, we have an eclectic group of films, but all deserving in their own way.

#55 - Rocky, 1976.

Bringing Oscar and a new attitude to sports movies (and the sport of boxing), Stallone penned a true winner. Winning picture and director, Stallone didn't get the writing or acting gold, but he became just the third writer/actor to be nominated for the same film after only Chaplin and Orson Welles. Not bad company. One of the better underdog stories around.

#54 - The Sixth Sense, 1999.

M. Night Shaymalan debuted a near flawless piece of film in the supernatural thriller genre, and then began his decline as a writer/director ever since. The Sixth Sense brought something to the movie-going experience that was missing in the late 1990's, and with the exception of the Matrix, it was a rejuvenating breath of fresh air to an otherwise stale and predictable time. He was dead the whole time? Brilliant.

#53 - The Exorcist, 1973.

Frightening and timeless, you can't eat pea soup in the same way after you've seen this film. Before the time of special effects, or found-footage films, this was the last of the great horror films. With Freddy, Jason, Michael Myers, and all of Wes Craven's creations, it never got quite as good as the Exorcist. Probably the scariest film adjusted for technology (pound for pound?) How do you even compare now and then?

#52 - Titanic, 1997.

Love it or hate it, Titanic was a revolution in film. Earning 11 Oscars, it was unprecedented box office and critical success in a time yearning for something, well, titanic. The most expensive movie ever made at the time, it demolished the floodgates for earning potential, surpassing the billion dollar mark. Even years later, it's an impressive piece of work.

#51 - Return of the Jedi, 1983.

The first of three of the Star Wars films to grace this list, (can you guess which ones?) Jedi is just pure fun. A fitting finale to the greatest sci-fi epic (sorry Star Trek) ever created. George Lucas is a genius for letting other directors in on his sequels, though I'm not sure exactly why he gave up that control. He could have benefited by having other directors film episodes 1, 2, and 3.

Stay tuned for the top 50!

The Dark Knight Rises

It is with bittersweet emotions that I write this today. With the tragic events in Colorado, it is difficult to fully celebrate the magnitude of cinematic achievement that Chris Nolan has reached.

I remember in the summer of 2008 when The Dark Knight came out and blew everyone out of the water. From the opening scene. The aerial panning shot above the Gotham skyline with the resounding Hans Zimmer score beginning. We were introduced to one of the greatest villains in movie history, and his personal tragedy sullied the inevitable Oscar win. Four years later, and we are again experiencing an eerily familiar, yet utterly senseless tragedy around this film franchise.

The expectations could not be higher for this film. From the public, from the critics, and frankly, from the whole Hollywood community. This is the film that is supposed to tank the Avengers, and if early buzz and my personal opinion carry any weight, it will. The advantage that the Avengers has is that it was released in 3D, which will account for a couple hundred extra million dollars grossed worldwide. Not to be cliche, but the people are looking for a hero this summer at the box office, and Spiderman is great and everything, but Batman fills the void.

At a budget of over $250 million, the film will turn a profit by Monday. It's the conclusion to the trilogy that the Wachowski brothers wish they had filmed. It's the conclusion that will make Peter Jackson thankful that the Academy gave him all those awards back in 2003 as a tribute for his years of work on the ten hour Lord of the Rings saga.

No, The Dark Knight Rises will stand as a fitting end to the darkest superhero vision of all time. Appropriate given the character and the city.

Gotham City, eight years after the events of The Dark Knight. There is no mention of the Joker, but otherwise, we pick up where we left off with Batman public enemy number one and Harvey Dent a celebrated icon to an otherwise deplorable city. It's what makes a hero so much more endearing, if he fights for everyone, even the undeserving. Bruce Wayne is an older and more brittle recluse, and we are quickly and in fun fashions introduced to both Bane (Tom Hardy), the terror inducing brute, and Catwoman (Anne Hathaway), the unassuming cat burglar who uses her feminine wiles to get what she wants. We are also given quick updates on the other regulars: Alfred (Michael Caine), Lucious Fox (Morgan Freeman), Commissioner Gordon (Gary Oldman), and newcomers John Blake (Joseph Gordon-Levitt), and Miranda Tate (Marion Cotillard).

The specter that is Batman is more an old wives tale now, but suddenly he is needed once again, this time in the midst of economic terrorism and an Occupy movement within his beloved city that has a threat that has something to do with clean, nuclear powered renewable energy.

The fight scenes are expertly set up, and Nolan has his characters doing great choreography. Hathaway was particularly impressive to me. I admit, when I heard she was cast in the role, I was convinced that the film was destined for ruin. But, she pulled it off. A few lines are a bit too cheesy, but nitpicking a film like this is easy, because so much of the technical work is flawless. There has to be something to complain about, right?

I wish that Bane had a bit more screen time, although I was impressed with how well they pulled him off. He is not, and never will be in the same stratosphere as Heath Ledger's Joker, so if you're expecting that, don't see the movie. What he is however, is something more menacing, albeit predictable. A blunt instrument of terror and anarchy. After seeing the previews, it is clear that there was much work done on his voice, and I hate to say I was a bit disappointed that they came back around to his normal voice more than the Darth Vader inspired growl that may have been undiscernable, but was damn cool and frightening.

The rest of the cast does well. Christian Bale carries the film's namesake with valor, but he's not why anyone shows up to the movies (no offense to Bale). Joseph Gordon-Levitt and Marion Cotillard both seemed to be odd choices to me to add to an already all-star cast. It seemed a bit too much like an Inception reunion, but Nolan knows what he's doing, and he gets the job done. Cotillard's character is pivotal, but does not add enough depth to the story to justify her existence. Personally, I could have been happy had she not been included at all. Gordon-Levitt is a young, idealistic cop who plays understudy to both Commissioner Gordon and Bruce Wayne. He's an inspiring young actor who will start headlining films soon enough (This fall's Premium Rush and Looper).

Michael Caine was terrific as usual, as was Gary Oldman. An odd choice to fill in as police chief was Matthew Modine, who just gave me too many 1980's and 1990's movie memories. I suppose they needed someone with a little star power, but I really wish it had been someone else.

As the story progresses, the role of government is juxtaposed with the people, but there is an underlying tone of deep sarcasm by the writers, almost toying with the viewer's sense of justice. Is this city even worth saving? The people have turned their ignorant backs on their savior, yet when they need him most, they call for him. It's a great setting established by Nolan. Most of the laypeople in the city are simpletons. Even the cops or the politicians. The whole thing is reduced to high class versus low class, and every character not on the posters is a bit of an idiot. This sounds ridiculous, but it adds to the value of the main characters, be they good or evil. The good is even better, and the evil is significantly worse. It's really genius if you think about it.

The story once again hinges on Batman's ability to selflessly sacrifice his body, his fortune, his reputation, and his life for the city that he so desperately wants to call his own. He's the image of a true patriot.

I predicted elements of the ending, and thought that the fighting with Bane ended a bit abruptly. I also thought that it became pretty obvious what was going to happen as the "clock was ticking". I will say however, that the epilogue was nicely done. All of the possible ends were wrapped up nicely, and although there still exists a universe of potential heroes and villains in Gotham City, we can sleep easy knowing that this trilogy is finished.

Chris Nolan has said adamantly that he is done with this franchise, but is he done with Gotham? Only time will tell. Exceptional storytelling. Flawless execution. Incredibly interesting characters. Superb cast. 10/10.

Top 100 of all time - # 56-60

We're nearly to the halfway point, and there are still lots of greats to check in on the list. Our next 5 give us 4 oldies, but goodies, and one slightly underrated film from just a few years back. Without further ado.

#60 - Modern Times, 1936.

No top 100 list is complete without an appearance by the little tramp. Modern Times blends Charlie Chaplin's amazing physical comedy with a sardonic look at industrialization and the effects on society. Incredible music, and the true work of a genius.

#59 - There Will be Blood, 2007.

One of the greatest actors of our time collaborating with one of the most brilliant directors. Daniel Day-Lewis and Paul Thomas Anderson mesmerize with music by Nine Inch Nails' Trent Reznor in this vision of Upton Sinclair's

Oil

. Stellar and harrowing. Deserves a second look as well.

#58 - Animal House, 1978.

College was never like this, but then again, college didn't have this cast and crew. The minds of National Lampoon's creates the quintessential frat party film filled with pranks, gags, sex, drugs, booze, and hazing. What else could you ask for?

#57 - A Streetcar Named Desire, 1951.

Tragic love story of an abusive drunkard and dockworker and the estranged sister-in-law who comes into his life, causing trouble. I'm not a huge Tennessee Williams fan, but this version with Marlon Brando and Vivien Leigh, directed by Elia Kazan is riveting.

#56 - Cool Hand Luke, 1967.

A movie so cool, Guns N' Roses used its dialogue in one of their songs. Paul Newman is at his absolute coolest as a man coping with hard time in a southern prison. He never loses his edge, and never gives in. George Kennedy won an Oscar for his outstanding supporting work as well.

Stay tuned for the last 5 in the bottom half...

Top 100 of all time - # 61-65

Moving down our list, we're almost up to the halfway point. I'd love to hear your comments of which films should be farther down the list, and which ones don't deserve to be on the list at all. If you have a Google account, you can follow my posts as well.

#65 - Heat, 1995.

Michael Mann's epic crime caper pits DeNiro against Pacino for the first time. It also has one of the best shootout scenes in film history. A smart, all-around well done film.

#64 - Singin' in the Rain, 1952.

The only Musical to grace this list (sort of), Gene Kelly, Donald O'Connor, and Debbie Reynolds shine in this upbeat song and dance show. The moves are great, the songs are catchy, and the story is just plain fun.

#63 - Mystic River, 2003.

In my opinion, this is Clint Eastwood's best work. Based on Dennis Lehane's novel of the same name, there is a heartbreaking twist, and Sean Penn and Tim Robbins deserve their Oscars for their work. A dark tale of innocence lost, and the bonds of family, it's a can't miss.

#62 - The Thing, 1982.

Let's be honest, John Carpenter movies are a guilty pleasure. He's done some pretty awful films, but they are mostly entertaining. The Thing is a great idea that's been done three times now, but this is the version that stands out. Creature effects that are cheesy, but graphic and creepy, and a great score that adds to the tension. If you haven't seen it, rent it on a Saturday night and turn the lights off. It's a great film.

#61 - Saving Private Ryan, 1998.

The biggest Oscar mistakes of recent memory belong to the 1999 show. Shakespeare in Love beating out Saving Private Ryan, and Roberto Benigni beating out Tom Hanks for what should have been his 3rd Best Actor Oscar, making him the most distinguished actor in history. It didn't happen though. Saving Private Ryan is the most vivid look at the invasion at Normandy during WWII, and Spielberg exhibits his typically beautiful cinematography with a great cast and a touching, albeit unrealistic story. The theatre experience pinned me to my seat, and I was captivated with my heart racing for the whole thing. Great film. Hanks was robbed.

More to come soon...

Top 100 of all time - # 66-70

#70 - It Happened One Night, 1934.

One of the quintessential love stories from classic cinema, Clark Gable and Claudette Colbert have striking chemistry in this Frank Capra gem. She's a brat, and he's a sharp-tongued reporter who just doesn't care. It's a nice romantic comedy if you want something a little different.

#69 - Training Day, 2001.

Denzel Washington wins his Best Actor Oscar (finally) by playing one of the best bad guys of recent memory (besides Anton Chigurh, the Joker, Hans Landa) as Alonso Harris, a dangerous man with a badge. The film blurs the line between protecting the public and self-interest, and with a pretty decent story and a good supporting job by Ethan Hawke, it's a must-see in the corrupt-cop genre.

#68 - Chinatown, 1974.

Jack Nicholson and Roman Polanski spin a tale of murder and scandal in old Los Angeles. A shocking twist at the end that only Roman Polanski would dare (hint at his personal life), Chinatown is a great classic crime drama.

#67 - Avatar, 2009.

Avatar deserves to make the list for the innovation and anticipation alone. The only thing that could have made this first-time experience in 3D and IMAX more satisfying is if the previews hadn't give so much away. With a film like this, it would have been risky, but ultimately gratifying if word of mouth had been the biggest marketer. I remember waiting in line on opening night, and I was not disappointed at all. An epic masterpiece that showed once again why James Cameron is the most cutting-edge director in the business.

#66 - All Quiet on the Western Front, 1930.

A classic novel by Erich Maria Remarque shows the conflict of a young man choosing to participate in the humanity-shattering trench warfare of WWI. It's also from the perspective of a German boy, which just shows that there is a story on both sides of any war. It's a great piece of history and there is an eerie feeling of authenticity as it's shot in black and white and brings you back to the time period.

Next 5 coming soon!

Top 100 of all time - # 71-75

Cracking the third quartile are three that should make any objective movie-goer's list, and two that I find to be incredible for their time for different reasons.

#75 - M.A.S.H., 1970.

Mobile Army Surgical Hospital was a confusing glimpse into the chaotic life of surgeons in the field during the Korean War. Spawning one of the most acclaimed and beloved dramas in television history, the film was simply better. Blending comedy into a high stress and often futile environment, levity is often the only way to stay sane. It's beautiful, funny, heartbreaking, and entertaining. A great movie.

#74 - Boogie Nights, 1997.

Paul Thomas Anderson is a brilliant filmmaker, and although only two of his films make my list, there is a chance that his next one, The Master (out in December) will someday join the ranks of these other classics. Boogie Nights is what Magic Mike would have been without the need to appeal to women, or without delivering a happy ending (no pun intended). An absolutely ridiculous cast of giants, this is a sad story about a shady industry.

#73 - Lord of the Rings: The Fellowship of the Ring, 2001.

Possibly controversial, this is the best film of the trilogy for numerous reasons. You could argue that Peter Jackson was saving his swan song for Return of the King, which isn't the case with the upcoming Hobbit. I think he put so much into the Fellowship that the next two films naturally fell into place. The mood, characters, effects, etc. Everything was established to make the vision come to life, and the first film of the series was the best.

#72 - Moneyball, 2011.

Moneyball was the best film of 2011. If you've only seen it once, see it again. Sports stories are a dime a dozen, but somehow this perfect storm of owner, protege, talent, and economic necessity made the impossible possible. It's a beautiful story, and inspiring in all the right ways. Brad Pitt and Jonah Hill are perfectly cast.

#71 - E.T., 1982.

E.T. is a classic, and everyone has a soft spot for the Neil Diamond song, "Heartlight". OK, maybe not everyone, but E.T. is a touching demonstration of Steven Spielberg's imagination and it's influenced a generation of filmmakers.

Stay tuned for # 66 - 70!

The Amazing Spider-Man

The aptly named Marc Webb spins the latest tale of the friendly neighborhood Spider-Man in a different style than the 2002, 2004, and 2007 incarnations by Sam Raimi. Let me start by saying I thought Andrew Garfield was a dubious pick to play the masked hero, but after about 20 minutes, it just seems right. He has the personality, the meek behavior, and the not-too-scrawny (but still pretty scrawny) physique that the deep and dark character demands.

Spider-Man, also known as Peter Parker is a tormented soul who deals with loss, secrecy, betrayal, self-doubt and guilt. Through it all, however, he chooses the path of helping others. This story scraps everything we have seen before and starts from square one; pre-Spider-man Peter Parker. Like a choose-your-own adventure, it finds its own path, free from the stigma from other renditions, but keeps the integrity of the comics at its core. Let me clarify; I'm not a comic guy, but like any 30-something guy, I know the basics.

This Peter is a little different however. He is given a gift through a spider bite, but his personality doesn't change. This is where Garfield succeeds where so many superheroes before him have failed. Heightened senses and strength allow him to do the improbable, but he's still Peter Parker at the end of the day. He still has his insecurities, still has his crush, and still has his sense of loyalty to family and community.

Emma Stone plays Gwen Stacy, who was shown in a small role in 2007's Spider-Man 3 by Bryce Dallas Howard. Mary Jane Watson is nowhere to be found, and thankfully, neither is Kirsten Dunst. Stone brings her cute, girl-next-door image and flirts with her real-life boyfriend, Garfield in a genuine and snappy way.

The villain of this one is of course a mad scientist who uses newly discovered experimental drugs on himself to gain super strength, but it goes horribly wrong. Nothing new here. Rhys Ifans plays the Lizard, and acting aside, the creature effects are stunning. Marc Webb lingers with his camera longer than most special effects action directors would dare, and we get good, long glances at his work. It's fearless for a director with just one feature film under his belt (500 Days of Summer). Supporting players Martin Sheen, Sally Field, Dennis Leary, and even C. Thomas Howell are well-cast and don't detract from the main three.

I must say that with the recent technological advancements, this is the one superhero who is made for the 3D IMAX screen. Swinging from the buildings, Webb did a nice job using some first-person camera sequences. this film lends itself to the next generation of film making, and it's what action films should look like.

Written by an impressive team of writers, including one of the men behind the Harry Potter adaptations, and a man who worked on the previous Spider-Man trilogy with Raimi, I have to say that this story was very cookie-cutter. The arc went exactly where you expected it to go, but it did leave a satisfied taste in my mouth. Two of the ends that needed to be tied off were done with great delicacy and tact.

I am a sucker for the heavy burden of the hero, and the city he's defending ultimately standing up to help him. It is most prevalent in the Spider-Man franchise compared with other superheroes, and although in this particular instance it's a bit overdone, it fits for this film nicely. The writers get the story right, start to finish. It's a commendable job by the production team.

The inevitable sequel that comes out in 2014 will be a huge success and the only real question is who will the villain be after 4 installments? Although the list is long and some are clearly better than others (http://en.wikipedia.org/wiki/List_of_Spider-Man_enemies) my personal choices would be Hammerhead, Kingpin, Kraven, Silvermane, or Vulture. What the franchise needs to do is follow Chris Nolan's lead and introduce some characters that weren't genetically altered through a medical accident. We need some slightly realistic villains to battle the masked man.

The previews initially turned me off. The cast wasn't appealing and it seemed too soon after the Sam Raimi mega-blockbusters. As the trailers evolved, it seemed a bit more enticing, and after a viewing, it is certainly worth the price of admission. I can't speak for the 2D version, but 3D IMAX is a great ride worth the extra money. Unfortunately, and you may find this blasphemous, but I'm not a Spider-Man fan at heart. 8/10.