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The bittersweet paradox of this franchise is that while the stories have grown progressively less interesting the special effects have improved tremendously, becoming at once more plausible - when Spider-Man swings through the urban canyons he finally looks almost real - and more spectacular. And while Marko is mainly around to show off the franchise’s snazzy special effects, it feels as if the director has put quite a bit of himself into the Sandman, whose struggle to find a form that suits his talents has the sting of a metaphor. Dunst to wherever her story might take them too. Peter ignores his girlfriend, Mary Jane (Kirsten Dunst), so she reaches out to her friend and his frenemy, Harry Osborn (James Franco), a k a Son of the Green Goblin (Willem Dafoe, revived in flashback), while Peter turns to his Aunt May (Rosemary Harris), who shovels the manure with grace. As it happens, the over-all shape does recall a Busby Berkeley musical - snappy story, lavish number, snappy story, lavish number - but without the snap or fun.
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The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights.
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Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. But nothing seems to put a damper on interesting self-doubt faster than fame, or so this film and its lead character both seem intent on proving. Part of the allure of superheroes, of course, is how they serve as wish fulfillments for the faithful, allowing their mild-mannered fans to settle scores and snare the babe by proxy. The first “Spider-Man” never soared, but there was something very appealing about the image of a skinny, geeky adolescent struggling to rise to the occasion of his newfound powers, like a 97-pound weakling tiptoeing on the beach after getting with the Charles Atlas program. It’s this combination of exaltation and dread that can come with radical life change that made the first film work as well as it did. Though there’s something dubious about the idea that black still conveys evil in our culture, pop or otherwise (tell it to Batman and Barack Obama, for starters), the idea of messing with Spider-Man’s squeaky-clean profile, smearing it with dirt, a touch of naughtiness, seems too good to resist. The big selling point in “Spider-Man 3” is that Spider-Man or Peter or some combination of the two discovers his so-called dark side when an inky extraterrestrial glob (a symbiote in Marvel-speak) spreads its gooey tentacles over his body, turning his suit and soul black.
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Raimi, his brother Ivan Raimi (a third Raimi brother, Ted, plays a tiny role in the picture) and Alvin Sargent certainly feels more like work than play. The programmatic screenplay credited to Mr. (The neighbors in this part of town evidently always keep the blinds drawn.) It’s a calling, sort of, though it’s also started to feel a bit like punching the clock. It’s a living, kind of, enough for an enviably situated dump in Manhattan with artfully peeling walls and a fabulous picture window through which Peter regularly bounds into the air in full superhero drag. Peter is still hitting the books and still snapping photographs for The Daily Bugle, run by the flattop blowhard J. In fictional terms Spider-Man a k a Peter Parker a k a Tobey Maguire looks like he’s pushing 23, but there’s something about the guy that shrieks midlife crisis. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood.
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If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations.