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Meanwhile, Harry Osbourne (James Franco) is out to kill Peter. He’s still living an adolescent fantasy, not yet fully grasping the great responsibility that comes with the great power of love. Peter’s love for MJ has always been a schoolboy crush, and even in his third outing as Spider‑Man, Peter hasn’t really grown up. Peter thinks he can - but there’s a certain lack of conviction and maturity in his tone. “I didn’t want to rush into something with nothing but love to sustain us.” Admonishing Peter, she adds, “A man has to be understanding and put his wife before himself. In a nice touch, Aunt May relates how she turned down her first marriage proposal from Peter’s Uncle Ben, as much in love as they were. Still, he wants to marry her, an intention prompting Aunt May (Rosemary Harris) to offer one of her trademark moral speeches.
#Spiderman 3 full movie 2007 series
Of course Mary Jane loves him… though he may be taking that one too much for granted (this is the first film in the series in which MJ isn’t seen onscreen before Peter). New York loves him - so much so that he gets his own parade and even the key to the city. What’s more, it’s gotten so everybody loves Spider‑Man. (Apparently Dr. Curt Connors, the future Lizard, teaches every science course worth taking at least Peter always seems to be in his lecture hall.) These days, Peter no longer has trouble making an eight o’clock curtain call to see Mary Jane (Kirsten Dunst) on stage, or keeping up with classes at NYU. By Spider‑Man 3, Peter has his double act together - so much so that he’s swinging toward the opposite extreme, becoming complacent and full of himself. Spider‑Man 2 explored Peter’s difficulties juggling his dual identities and his growing resentment over the hardships of being Spider‑Man. The original Spider‑Man related how Peter Parker (Tobey Maguire) became Spider‑Man. If it doesn’t quite deliver on all its promise, at least the filmmakers have erred in the direction of trying for too much rather than settling for too little. Bucking the trend, Spider‑Man 3 may be the freshest and most unique of the three films, completing the trilogy without a hint of franchise fatigue.
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Popcorn cinema, especially super-hero cinema, frequently runs out of steam by the second or third act, and always by the second or third installment. Heedlessly leaping headlong into the most daunting complications, Spider‑Man 3 is flush with the exhilaration of its own agility and the joy of playing to the crowd.
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Like its web-headed hero careening crazily through the canyons of Manhattan at the end of a web-line, the film swings breathlessly and without warning from one thing to another, from breakneck excitement to outrageous silliness to comic-book morals about responsibility, sacrifice and now even vengeance and forgiveness.