And the 3-D recalls the nadir of the technology. Spider-Man is too obviously the product of computer graphic artists as he swings around New York (an oft-heard complaint about the webslinger from back in Sam Raimi's first installment). The "resolution" to the mystery of Richard and Mary Parker is an anti-climax. The central villain (to the extent that there is one) is all bluster and no menace.
Key relationships are given short shrift. There are some good moments in The Amazing Spider-Man 2, especially toward the end, but the whole thing seems to have been assembled by filmmakers tone-deaf to what constitutes compelling cinema. Sitting through The Amazing Spider-Man 2, I had the feeling that screenwriters Alex Kurtzman, Roberto Orci, and Jeff Pinkner and director Marc Webb were throwing everything they could think of at the audience to see what might stick. There are too many negatives to keep the experience from being the kind of giddy adrenaline rush one hopes for with a Big Summer Flick. The fifth Spider-Man feature, which is the sequel to the unnecessary reboot, is all over the place, an undercooked cinematic casserole that blends some genuinely touching moments and well-presented action sequences with bad melodrama, overlong exposition, and overexposed CGI. In the superhero genre, it's too easy to become sloppy and fall back on clichés. It takes something lackluster like The Amazing Spider-Man 2 to remind viewers why movies like Captain America: The Winter Soldier are considered superior.
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