Spider-Man

A spectacle that swings higher than it lands

Action/Sci-fi ‧ 121 minutes ‧ PG-13 ‧ 2002

“With Great Power Comes Great Responsibility”

I’ve never claimed to be objective in my movie reviews, but I’ll be as honest as I can here. Spider-Man (2002), directed by Sam Raimi and starring Tobey Maguire, James Franco, Willem Dafoe, and Kirsten Dunst, is my favorite movie of all time. There’s nothing quite like it. Even in today’s oversaturated superhero landscape, this film still feels as fresh as it did the first time I saw it as a kid. And yet, as much as it pains me to say, it isn’t perfect.

The film tells the story of Peter Benjamin Parker. He’s not the guy you bullied in high school. He’s the guy the dudes you bullied bullied. Tobey sells that idea, at least somewhat, though casting a 28-year-old to play a teenager is questionable. Still, there’s a genuine heart to the character. We watch Peter evolve quickly after being bitten by a radioactive spider, suddenly gifted with powers that separate him from the rest of humanity. In the midst of doing what any awkward teenager might, trying to impress a girl, he lets something unforgivable happen. His uncle dies because of it. That tragedy doesn’t just define him, it reshapes him. Peter becomes something more: a protector who chooses responsibility over personal happiness. It’s uplifting and gut-wrenching all at once. Watching him sacrifice his desires for the good of others still hits hard, and it offers a moral clarity that many modern films lack.

Of course, a great hero needs a worthy adversary, and Willem Dafoe’s Green Goblin delivers. The costume hasn’t aged well. There’s no denying it looks silly. But Dafoe’s chilling performance, from his voice to his expressions to the unhinged glee in his eyes, makes the Goblin feel dangerous in a very real way. He’s not just a comic book villain, he’s a legitimate threat.

Where the film truly excels is in its quiet moments, its human ones. After Peter’s graduation, there’s a simple scene of him crying. Not for drama. Not for awards. Just grief. That’s where this film shines. In scenes of Peter standing on rooftops after catching his uncle’s killer, in vulnerable conversations with MJ, in gentle moments with Aunt May at the hospital, you see the weight of it all. This is why I love this film so deeply. Anyone can stage a fight scene. Getting the audience to care about what’s at stake, that’s the real challenge. So when Peter lies bloodied at the Goblin’s feet, I don’t see Spider-Man. I see a kid who’s lost everything, who’s bled for a world that doesn’t seem to care, and maybe won’t let him win.

Still, this film stumbles. Kirsten Dunst’s Mary Jane Watson has long been a point of controversy. Some of the criticism has been unfair, but the core problem lies with how she’s written. The original MJ, a bold, flirtatious, sex-positive, rock-and-roll spirit, is traded in for a watered-down version who’s too often reduced to a damsel in distress. The film teases depth and agency but often defaults to soap opera drama between Peter and Harry. That said, the romance still works. Raimi doesn’t rely on hollow longing or generic chemistry. Instead, he gives us the upside-down kiss. It’s not just iconic, it’s real. Passionate. Earned.

Visually, the movie still impresses. Raimi’s direction is playful yet deliberate. The film’s brighter, more colorful palette separates it from the sterile grays of the modern MCU, giving it a comic book vibrancy that feels alive. The CGI hasn’t aged flawlessly, but the final web-swing still feels exhilarating, thanks in part to clever drone-like camerawork. However, the action choreography in costume does feel repetitive. There’s a lot of “punch, dodge, punch, dodge” that later Spider-Man films handled with more finesse.

And yet, despite its flaws, Spider-Man is filled with soul. It’s sincere. It’s raw. It’s more than a superhero movie. It’s a story about sacrifice and sadness, about power and pain. It’s a bittersweet tragedy disguised as a blockbuster. The film reminds us that life isn’t fair, that talent and effort don’t always guarantee success. You can do everything right and still lose. So then, what do you do with that pain? Do you strike back, or do you rise above?

Spider-Man is a film about growth, transformation, and what it truly means to become a man. Not some overconfident alpha, but someone defined by compassion, humility, and purpose. It’s about love, loss, anger, courage, and above all, responsibility earning it a soild 4.5/5.

(And somehow, Spider-Man 2 is even better. Spider-Man 3... well, it’s there.)