Guardians of the Galaxy

The second to last installment of Marvel's "Phase Two" is quite possibly the best by the film studio yet. Drawing from inspiration ranging from Star Wars, Star Trek, The Fifth Element, and yes, The Avengers, Guardians of the Galaxy digs deep into the bag of comic book creativity and throws a motley crew of anti-heroes together into the galactic fray, yet together they are able to defeat the powerful forces of evil that threaten to destroy the known universe.

We start on Earth in 1988, where 10 year old Peter Quill says goodbye to his dying mother before being abducted by a UFO. 26 years later, we find him on a distant planet in a distant galaxy, scavenging to the tunes of his walkman and his awesome mix tape. He shows us more in those few minutes about his character than we could have discovered in twice the dialogue. It's a perfect introduction to a character who is certain to appear again soon, and will no doubt be legendary in the sci-fi nerd realm (G of the G 2 is already in the works). He is a "Ravager", a scoundrel who capitalizes on using his dirty, beaten up ship to take him from job to job, dealing with seedy beings like "The Broker" or "The Collector". I know, not very original, but it keeps it simple. Anyhow, he finds himself caught up in drama with Ronan the Accuser tracking a powerful object (The Orb), and finds himself working with a rag-tag group of self-pronounced "A-Holes" to stop him from destroying everything that they all love and loathe.

Chris Pratt is the reincarnation of Han Solo for the 21st Century. He's cool, carefree, quick with a snarky line, and uses his natural charm and humor to nicely lead the band of misfits in perfect sync with the tone of the film. He's been on the rise for years, and is so much more than just the doofus Andy on Parks and Recreation (although that particular character is hilarious). He has impressed me with his choice of films over the past few years, with roles in Moneyball, Zero Dark Thirty, Her, and The Lego Movie. He'll next be seen in next summer's Jurassic World, is already lined up for Guardians 2, and is rumored to take on the iconic role of David Hasselhoff in the big screen adaptation of Knight Rider. Who says Hollywood has run out of new ideas? He has physically transformed himself into a fit action star, and his personality and wit will ensure that he'll be around for a long, long time.

The supporting cast has Zoey Saldana as the green-skinned adopted daughter of Thanos (we caught a glimpse of him at the end of The Avengers). She is a bitter assassin with some trust issues, but uses facial expressions expertly to inject levity to the action. WWE superstar Dave Bautista is my favorite, Drax the Destroyer. He is hellbent on revenge after Ronan killed his family. He has the best lines of the film, delivers them with precision and timing, and is simply a mammoth of a man. No doubt the CGI/make up didn't need to add much to his frame other than coloring and some cool red tribal tattoos covering his body. Rounding out the cast are the voices of Bradley Cooper as Rocket Raccoon, and Vin Diesel as Groot, a giant tree beast whose only lines are "I am Groot". They are buddies that reminisce of R2-D2 and C-3PO, but a little more effective in a fight, and a little more fun.

The great thing about the ensemble is that these five are so different, yet so perfect together. I marvel at the creativity of the writers. A tree? A genetically engineered raccoon? Awesome. They all do their jobs with aplomb, and the story is a bit weak and recycled, but it doesn't matter. This film is a character driven vehicle and they could really do anything as long as they banter. It's the formula that has made so many of the other sci-fi films successful (the ones with alien creatures). Unlikely allies. Various skill sets. Great costumes and makeup. Guardians of the Galaxy is the closest thing to the Star Wars or Star Trek franchises since Firefly/Serenity, which never gained enough mainstream traction, but could certainly happen once Joss Whedon is done with his Avengers gig.

James Gunn puts some pressure on JJ Abrams with this one. Despite Abrams' recent epic Star Trek reboots (OK, maybe just the first one) the field becomes a bit more crowded with quality directors and films. With Abrams rolling out Star Wars next year, Guardians raises the sci-fi action bar above what Abrams himself has set. Not straight sci-fi, that's reserved for Christopher Nolan in the upcoming Interstellar (which just might be a game-changer). Gunn brings his writing and directing talents into the spotlight after a few lesser seen, but extremely entertaining projects (if you haven't seen the 2004 remake of Dawn of the Dead, you're missing out). He announced his intent to write and direct Guardians 2, and just might break out with one more solid effort. He's a relatively young filmmaker (44), and represents a generation of filmmakers taking over Hollywood. I'm excited to see what he creates over the next few years.

Marvel outdoes themselves. With a $94 opening weekend, Guardians is the most successful domestic opening in August ever. Kudos Marvel, it is truly deserved. Going forward, Marvel has a timeline laid out for what seems like the next decade, and with their astronomical box office success, why not? They have done an unprecedented job thus far in destroying the competition and wisely choosing projects (and directors) since the first Iron Man back in 2008. "Phase Two" will wrap up with next summer's Avengers: Age of Ultron and Ant-Man, and will then move on to "Phase Three" in 2016. My sources are rumored at this point, but upcoming projects start with 2016's Captain America: The Fallen Son, and Doctor Strange (Joaquin Phoenix and Benedict Cumberbatch are the rumored actors). 2017 has Thor: Ragnarok, Guardians of the Galaxy: War of Kings, and Black Panther (Chadwick Boseman is the leading candidate). 2018 would hold Avengers: Civil War, World War Hulk (YES!!!) and The Inhumans (think a group of alien superheroes with infinite spinoff potential).www.lightlybuzzed.com/2014/08/04/marvels-phase-3-movie-titles-leaked-legit/.

I love the Marvel films, and Guardians of the Galaxy epitomizes why. It is fun, fast-paced, cutting edge effects, makeup, and costumes, it is filled with humor, and excellent character development and non-conformist casting decisions that tend to work out perfectly. Guardians is far and away the most fun action film of the summer. And just in time to salvage what was the weakest summer in recent memory. If you see one film to end the summer, make sure it is Guardians of the Galaxy. 10/10.

Dawn of the Planet of the Apes

Three years after the surprise hit (and surprisingly good) Rise of the Planet of the Apes, we are treated to another serving of simian special effects-laden action. This time, Cloverfield director Matt Reeves takes over from Rupert Wyatt, and delivers more of what was great about its predecessor. Namely, Andy Serkis and the astounding motion-capture and visual effects.

Ten years after the battle on the Golden Gate Bridge, Caesar and his army of apes have created a home in what I can only guess are the North Coast mountains. A deadly epidemic called "Simian Flu" has wiped out the majority of the human population on Earth, and only a few pockets of survivors inhabit a desolate and powerless planet. After a less than desirable encounter, the humans and apes begin to interact in what can only be described as increasingly hostile meetings where a few bad apples spoil the relationship, inevitably leading to all-out war. There are power struggles, morality, glimpses of the follies of man, and a glimpse of a dystopic future that is grim, but not altogether far out (except for the genetically engineered apes who can talk). I can't say that the story isn't predictable, but that's alright. What fills the screen is sheer movie magic, and with an accompanying score that is nostalgic of thrillers and action films of the 80's and 90's, it's just a fun time at the theatre. Just what movie-goers needed.

The characters are very basic, and although Jason Clarke and Keri Russell do their darnedest to put on a good show, and Gary Oldman is wasted as the shallow and undeveloped leader of the humans, the apes are the reason we bought tickets, and they are presented front and center for almost the entire film, which is the best thing about it. Andy Serkis gets top billing, and rightfully so. I still think he has been snubbed by the awards ceremonies for years, with his previous portrayal of Caesar and Gollum. He is truly a master of his craft, and with the announcement that he has a role in the new Star Wars film, at least he's paying the bills if nothing else. I'm hopeful that he will get some recognition for the emotional and physical genius that he puts into his characters, but I'm doubtful as he would have to be in the Best Actor category based on the billing and his screen time, and not the Supporting Actor that he might have a shot at a nomination for.

This summer has been lackluster in its presentation of quality action films. Edge of Tomorrow was the lone impressive movie-going experience, but Apes is great. Summer popcorn at its best. I'm excited for August's Guardians of the Galaxy, and think Expendables 3 will be fun, but that pretty much concludes our gargantuan movie season. Studios seem to be pushing off their big guns to the fall and winter, and nobody can seem to compete with superheroes these days, but those who try are either disastrous or mega-successful. Apes brought in $73 million its opening weekend, which well exceeded expectations. Consider this opening the green light for the next installment in 2016.

This fall and winter are packed to the gills with potentially great films. The Independent festival circuit has captured the attention of studios due to their relatively risk-free returns on investment, and film makers and actors are seemingly becoming more interested in quality over paychecks. Maybe I'm wrong, but that's the impression I am getting. Maybe Hollywood is entering a recession. Partially pushed by the death of the DVD (yep, I said it here first) and partially by the overseas potential with more unimaginative fare (cough...Transformers). Last year's box office numbers are much higher as a comparison. I heard 20% and 25% from two different sources through 4th of July weekend. However, there were big films opening just about every weekend last summer, so per blockbuster, I imagine that this summer is doing better. Besides, technology is getting better and better. Films are getting more and more expensive, and budgets are ballooning every year. Remember in 1997 when Titanic surpassed the $200 million mark for production budget and people thought it was crazy? Three films this year have surpassed the $200 million mark, with four more nearly hitting that amount. And we are only in July. In fact, since Titanic, there have been 35 films with budgets over $200 million. This may also be why so many studios collaborate now as well.

I'm done with my rant. Back to Dawn of the Planet of the Apes. There isn't much more to say about the film. Andy Serkis and his team do an exceptional job, as usual. The apes are emotional, masterfully rendered, and their seamless integration to the sets and interactions with the humans are commendable to say the least. This is a fun movie, plain and simple. A few minor oversights (how can an orangutan ride a horse?) but altogether it's a fitting film just in time to save July. Go see it, there's nothing else worth seeing right now. 9/10.

Transformers: Age of Extinction

With an ominous moniker, Transformers 4 takes the same formula as its 3 predecessors, mixes it up a bit with some new actors and robots, and serves it to audiences in a jumbo-sized container of summer popcorn action blockbuster. Unfortunately, it just doesn't have the same excitement as the previous 3 (the first one at least). This is an interesting franchise. Even Michael Bay has publicly stated that he doesn't care what people think of the movies because he knows they will see them anyway. That sentiment comes across in the latest installment. Sloppy direction, incoherent plot lines, shallow and cliche characters, and worst of all, a truly deflated story. Written by Ehren Kruger, I would expect a bit more. I loved his work on Arlington Road and The Ring, but since taking the primary screenwriting role on the Transformers series, he hasn't impressed me despite a gargantuan budget, arguably the best special effects director in the game, and a fan base that proves Bay right, we will see the movie no matter what. It seems like a no-brainer opportunity to do something epic. He does not. He's already working on Transformers 5, and it's a shame. I'd like to see some new blood behind the franchise.

Set a few years after the Dark of the Moon blowout that devastated Chicago, now there is a new Black-Ops team of humans led by a perfectly cast Kelsey Grammer, and they call themselves Cemetary Wind. I would expect nothing less from Michael Bay. I was half expecting Will Smith and Martin Lawrence to get out of a car in slow motion and take their sunglasses off, but we'll have to wait a bit for Bad Boys 3. This shadowy government agency has found a way to not only find, but also defeat any and all Transformers that are still hiding out on Earth. Need I say more? What humans could beat a transforming robot? So, they are hunting and exterminating Autobots and Decepticons alike, using a pretty cool bounty hunter named Lockdown who is helping them until he gets his hands on the prize; Optimus Prime.

Meanwhile, the story gets boring as we're introduced to the new Shia LeBeouf and Megan Fox, who this time are a father/daughter duo played by Mark Wahlberg and Nicola Peltz (fun fact - she's only 19 and her dad's a billionaire courtesy of Snapple). They never gain traction or believability in their characters, and it left me just waiting for the special effects to start. Mark Wahlberg can't play a scientist or a Texan (except in Lone Survivor) and the daisy dukes, heels, and tank tops although fun to look at, aren't typical of teens anywhere outside of Michael Bay's fantasy world. It was like Michael Bay took all of the pensive gazes toward the sunset from Armageddon, The Rock, Pearl Harbor, and Bad Boys and rolled them all together into a long sequence that doesn't really have a place in the film. In case you haven't noticed, the 2 hours 45 minutes is way too long.

Cemetary Wind discovers that Wahlberg has found Optimus Prime and tries to get him to appease Lockdown by turning him over to him. Throw in a shady corporate businessman, a few battle scenes, yada yada yada, international travel to a hip film consuming locale (China), Dinobots (out of pretty much nowhere), and roll credits with another Linkin Park song.

The thing about Michael Bay movies is that there are supposed to be cool explosions, improbable situations that require very elaborate chases or escapes, and the special effects are supposed to be top notch. I felt the way I did while watching X-Men Origins: Wolverine. The effects were so much more sloppy and cheap than the previous film in the series, I truly felt cheated. The production team must be getting tired, which makes me wonder why they are working on a 5th film (oh, right, $300 million opening weekend worldwide).

I think I've said my piece about the direction. The acting, although not unexpected for an action film, was a bit disappointing. No fault of their own, it's the dialogue and characters created by the writing team. Kelsey Grammer, Stanley Tucci, and Titus Welliver are really the only respectable players in the whole film. Everyone else is just expected to make magic out of a turd. We do get treated to some new voice talent in John Goodman and Ken Watanabe (an attempt to bridge the Asian market? Definitely paying off as T4 is the biggest opening in China's history). And yes, I know Ken Watanabe is Japanese. You can't mistake that in the film either as his character, Drift is a samurai when he's not a Bugatti.

I still love Transformers. And despite this one (and the previous 2...), Michael Bay is right, as long as these movies keep coming out, I will keep seeing them. Damn you, Michael Bay! I don't suppose I ever tire of the summer blockbuster season, and the bar is clearly being raised each and every year. I've griped before about the lack of originality in popcorn flicks, and this summer seems to be a bit weak (Planet of the Apes, Guardians of the Galaxy, Teenage Mutant Ninja Turtles, Expendables 3 being really the only ones left). There will be some good entertainment this summer though as the Indy films make a bit of a stronger than normal showing. Maybe that's the big studio entrance into the Independent Film market a little stronger, or maybe there is just a void of quality films to fill the summer weekend slots. Whatever it is, you know you will probably see Transformers 4, but if you do, prepare for disappointment. 4/10.

All You Need is Kill

Lots of people have been comparing Edge of Tomorrow to Groundhog's Day, The Matrix, I would venture a little bit of Saving Private Ryan, and some old-school Mech-Warrior, a feel of Aliens thrown in with last year's Oblivion. It's really a new spin on the science fiction genre, and it's definitely the best sci-fi film in recent memory; maybe since Looper. It is the second best film of 2014 (Lone Survivor), and it is two hours of sheer Hollywood entertainment.

Based on the Japanese novel All You Need is Kill, Christopher McQuarrie (Usual Suspects) and Jez Butterworth pen a great sci-fi time travel loop story that is both original, and thoroughly entertaining. Say what you will about Tom Cruise, but he's still the best action star in Hollywood, even at 52 years old. He's found the fountain of youth. Maybe it's Scientology, maybe it's using twenty-something women as beards, or maybe he's just that good at his craft. I don't care, but he's in his element in this film for sure.

Cruise's Major Bill Cage is a military PR guy who is thrown into the front lines, actually Shanghai'd, for the D-Day of the alien invasion. Europe has been taken over by the "mimics", an alien race that look like metallic spiders, or the sentinels from The Matrix. They move faster than humans can follow, and as a result, the humans have turned to a sort of hydraulic exo-skeletal suit. It increases their strength, has loads of weapons attached, and may be a bit cumbersome, but are actually pretty cool. The all-out assault on the French coast is the human's last chance to defeat the alien invaders, and Cage finds himself living the day over, and over, and over again until he gets it right. He starts out as a combat coward, but builds confidence each time he faces them, and through a few twists and turns, he meets a warrior nicknamed "full metal bitch" played by Emily Blunt. She's the hero of Verdun, a battle in which she slew over a hundred of the mimics. Turns out, she was trapped in a time loop just like Cage is, and she helps him learn how to fight and learn how to attempt to defeat the alien horde.

Emily Blunt is great as the full metal bitch, Rita Vrataski, a symbol of hope and courage to the men and women who are fighting across Europe. Her poster is plastered all over the operating bases, and she carries a sword as opposed to the various projectile options chosen by the other fighters. She makes a pretty mean action star, although the traces of sexual chemistry seem forced with the elderly Cruise (21 years older). She is convincing in her toughness, which isn't always the case with female leads in these types of films, but I was impressed, and she was clearly up for the challenge.

Doug Limon is an experienced action director, having been behind the original Bourne trilogy (directing, producing) as well as the brilliant Mr. and Mrs. Smith. He's had a couple of duds lately, but he does an outstanding job with this film. It's the story, with its sharpness, not too serious but not too light that makes it so entertaining.

Bill Paxton steps into the supporting role as the Master Sergeant who drills Cage, and he clearly enjoys the role. Maybe it's his presence that reminded me of Aliens, or maybe it was the meaningless banter before the fight. The tough-talking troops who you know minutes later will be alien fodder. There's something fun and sadistic about rooting for the demise of the annoying supporting characters. Whatever the case, Paxton is a great choice for the third member of the cast. There are a handful of other supporting figures, but they aren't very relevant.

The aliens are very well done. Usually it's the creature that makes or breaks a film of this nature, and most of the time it's the latter. Although the close-ups are a bit cheesy, the idea of their composition and hive mentality is frightening. So often there is a lack of fear of the invading species, and that leads to a bit of a disillusioned letdown, but these ones inspire a heightened tension. They are fast, spidery, and merciless. There is no apparent weakness without giving away a main point of the plot, but they make the Germans look like chumps as the mechanized troops storm the French beach. It gives off an eery WWII vibe, but a clearly futuristic approach. Limon does it with a building suspense, but without taking it too far. The deaths are done tastefully, and Cruise goes through the motions time and time again with a building confidence like the great actor he is.

The exo-skeleton suits are probably the scene-stealers of the film. Clearly a lot of thought went into their role within the story, and the combination of special effects and costume designers do a fantastic job. Think Pacific Rim robots, then shrink it down. Then think about Avatar robots, then shrink it down. Think about the hydraulic lift suit from Aliens, and you're on the right track. The cool thing about them is that they are these clunky, slow moving metallic bodies, but once the user has mastered them, they are incredibly effective. I wish there was just a tad more time spent with the various weapons and ways in which they could be used. Cruise's Cage starts off not knowing how to take the safety off, to literally running circles around the enemy. The suits are cool, and although there is some realistic applications, they won't be like this in the future.

Living the same day over and over bothers me in one regard - you would have to remember exactly what you said, did, etc. and each time you go farther and die, you need to start over. I kept thinking that it is like a video game from the 80's, before there were save points along the way. He always goes back to the beginning. It's great because it raises the stakes each time through. The farther you get, the more you have to lose, but it also gets a little help from the time travel angle because the story gets to decide if he's "been there before" or if it's a fresh experience.

This is the type of movie-going experience that will satisfy your thirst for a fresh sci-fi action film. It's not perfect, but for the genre, it's pretty close. If only they had stuck with the original title, Edge of Tomorrow is too boring for this film. Great way to kick off the summer after a slightly disappointing spring. 9/10.

Neighbors

Director Nicholas Stoller (Forgetting Sarah Marshall) takes on the unicorn of comedy sub-genres; Frats. It's been tried many times, with very few truly successful films. Animal House, Revenge of the Nerds, Van Wilder (not really a frat movie, but more college party life in general), Old School. There have been significantly more misses than hits, but Neighbors captures the feel-good attitude of the carefree, hard partying lifestyle and throws in a competing young family storyline. The balance by writers Brendan O'Brien and Andrew Cohen strikes a nice chord, and with a great cast, it delivers a very entertaining comedy.

A young family discovers a fraternity moving in next door, and although they initially try to win them over with smiles and coolness, a noise complaint starts a feud that escalates to the absurd (but not as mean as we've seen before). There are no horses in the Dean's office, or naked videos of sorority girls. No, here we have a new generation of quick pranks that aren't the stars of the show as much as the reaction by the pranked. Besides, Punk'd and Jackass kind of created a new type of prank.

Maybe it's where I'm at in my own life, but the memories of the fraternity twisted with the upcoming (very rapidly approaching) birth of my first child blend a sort of resonance with both of the main characters. Mac (Seth Rogen) is a child at heart, and is living the young family dream with a wife he loves, a new baby that he has no idea how to take care of, a job he hates, and a new home he can barely afford. It hits pretty close to home. Teddy (Zach Efron) is the fraternity president who moves in next door and parties like Belushi, without the alcohol poisoning. He's a little too cool to be in college and shows off the new breed of frat guy; sophisticated, suave and carefree, but still hopelessly devoted to the brotherhood and the tradition. His only dream is to make it onto the wall of fame one day (a hilarious cameo-laden montage of frat lore).

Mac's wife, Kelly (Rose Byrne) is as immature as he is, tossing aside the cliche uptight wife to the clown, or the hot wife to the funny guy. The two of them share a beautiful chemistry that maintains its authenticity from start to finish, and that is what has been missing from other attempts at this type of film.

Then there's the frat guys.

Zach Efron is the double-threat as chiseled heartthrob comedian, and he stands his ground against Seth Rogen in what might be his best performance yet. Like Channing Tatum's comic explosion with 21 Jump Street, Zach has a future in comedy as well. His character has slightly more depth than others from films of the past, and is much more Tim Matheson than Louis Skolnick, and I mean that with all respect, nerds. The writers pull no punches in his development however, and that's what really satisfies. He has his flaws, but it is displayed lightly enough that we as an audience love it.

Enough over-analyzing, yes? The writers hit the nail on the head with their pacing, dialogue, and supporting characters. True, many of the funniest sequences are seen in the previews, and Rogen goes to his wheelhouse as the self-deprecating funny man. OK, Seth, you're chubby and unattractive. Blah, blah, blah. He owns it though, and that confidence is funny.

After the two initially hit it off in a great party scene, they declare war on each other, but it isn't mean-spirited (at least it's not portrayed in that way), and yes, Chris Nashawaty, the rest of the neighbors ignoring the massive parties is a bit unrealistic, but this film has a laser focus, and the rest of the neighborhood (or the school apparently) isn't a part of the story. Neighbors is light-hearted comedy, just as it's supposed to be.

It's brilliant when you think about it, merging two comedies into one. Frat and young immature family. I was thoroughly impressed with the performances all around, including Dave Franco, Ike Barinholtz, and the scene-stealing baby Stella, played by Elise and Zoey Vargas. Of course, maybe I'm biased. A little bit nostalgic, a little bit hopeful of the future. There is a happy middle ground between young family and frat life. 8/10.

The Amazing Spider-Man 2

Marvel's latest entry in the superhero action ring is the darker, more formulaic The Amazing Spider-Man: The Rise of Electro. It's one of the more anticipated films of the spring, with ads running on virtually every channel and marketing tie-ins ranging from the US Postal Service to Dr. Pepper, Kellog's, Evian, and of course, the fast food giant McDonalds, there are billions of dollars at stake. Director Marc Webb helms the sequel (could there be a better name for a director of Spiderman?) and with it, plans for a Spiderman 3, 4, and the introduction of the Sinister Six are already being discussed. Why wouldn't they? The Amazing Spiderman pulled in a whopping $750 million worldwide in 2012, with a production budget of only $230 million. Expectations are high for TASM2:TROE.

We follow the story of Peter Parker (Andrew Garfield), the conflicted high school graduate who moonlights administering justice on the seedy criminals of New York City. The police have embraced him as an ally, as have the citizens, but after making a promise to Gwen Stacy's dad on his death bed, Peter must stay away from Gwen (his real life love Emma Stone) despite their passionate love for each other. Everything is going great until he gets tangled up with a trio of villains du jour, Electro (Jamie Foxx), Green Goblin (Dane DeHaan), and Rhino (Paul Giamatti). There are hints of future bad guys, with appearances by Dr. Kafka and Alistair Smythe (look them up if you're interested) and a short sequence of The Gentleman walking past convincing images of Dr. Octopus and The Vulture suit prototypes, and some mentions of Venom, J. Jonah Jameson, and more Easter eggs. It is a bit overwhelming, even for someone who has some knowledge of the universe. The secret club of recognition will be lost on most of the moviegoers, and that is a real shame and a lost opportunity for the film makers. They are too ambitious and comic book nerdy.

One thing that stands out with this film is that it is considerably more dark than its predecessor. This is not unforeseen (I predicted it) as there must be some sort of trilogy arc that requires the second act to be despondent and hopeless with a third act that brings the fanfare and excitement of real conclusion. This is true with TASM2, but Spiderman never really seems to be in danger, unlike the first Sam Raimi trilogy where they nailed Spider-man 2 and the protagonist's flaws and weaknesses. TASM2 follows a fairly predictable Dark Knight approach, and you can't blame them as it is still the gold standard of superhero sequels, and may continue to be so for a long time. There are multiple bad guys, and some difficult decisions that need to be made by our hero. Andrew Garfield does a fine job, but there is too much time spent ruminating and not enough with him fighting crime. He is never happier than when he's in his suit, yet he's so reluctant to don it to protect those close to him. It doesn't translate well to the screen.

Another is that more focus is on the building of the Spider-Man universe than living in the two hour film itself. We have seen the rise of the Green Goblin before, but this time around it is lackluster with the odd looking and poorly executed Dane DeHaan. His Harry Osborn is fine, but his Green Goblin takes about an hour and 45 minutes to appear, and then lasts a mere couple of minutes. Jamie Foxx overacts as Max Dillon who has an accident that transforms him into an electrical storm of a bad guy. Spider-man dispatches him with too much ease in what are admittedly some pretty cool action scenes, but lacking any real tension or excitement. Finally, Paul Giamatti is completely wasted as the boneheaded bank robber Aleksei Sytsevich, AKA Rhino. He's too stupid to be taken seriously, and the mechanical Rhino contraption is about the coolest thing about the film, but unfortunately it doesn't get the screen time it deserves either.

The special effects are the highlight, and the star of the show. Unfortunately there are just too many scenes of intermission, and the bag of tricks is getting old very quickly. I am dubious how Spider-Man 3 or 4 will contribute to the legacy in any way other than a money-making blockbuster. There is no possibility of critical acclaim with this franchise from this point on. I actually liked The Amazing Spider-Man because it was different, but TASM2 is unoriginal and unrealistically ambitious.

I don't blame Webb, Garfield, or Stone, but the villains just plain suck. The writers should have brought Venom or the Vulture in for this one. There is so much material to choose from, and they are going in this direction anyway (Sinister Six), so why hold back any of the cool villains for the 3rd or 4th film? It just doesn't make all that much sense to me, but what do I know, I'm just the target demographic.

Don't get your hopes up too high as you walk into the theatre, you can expect some very average action, and some predictable story arcs, but you won't leave the movie satisfied. It just isn't what I was hoping for. 5/10.