Big Hero 6

Based on the comic book series by Steven T. Seagle and Duncan Rouleau, Big Hero 6 is the story of a tech prodigy who creates a robot that helps him fight against a masked villain with the help of friends. Directed by Don Hall and Chris Williams and screenplay by Robert L. Baird, Dan Gerson, and Jordan Roberts, the film is set in a futuristic hybrid-city of San Francisco and Tokyo where a young kid tries to learn what it means to be a hero as well as cope with loss. Featuring the voices of Scott Adsit, Ryan Potter, Daniel Henney, T.J. Miller, Jamie Chung, Genesis Rodriguez, Damon Wayans Jr., Alan Tudyk, Maya Rudolph, and James Cromwell. Big Hero 6 is an exhilarating and touching film from Don Hall and Chris Williams.

Set in a futuristic city that combines San Francisco and Tokyo into a city called San Fransokyo, the film follows a 14-year old tech prodigy with little direction in life as he is encouraged by his older brother to use his talents where a tragic incident prompts the boy to become a hero and fulfill his brother’s wish to help people. It’s a film that isn’t just a boy coping with loss but also befriend a creation of his brother in an inflatable healthcare robot named Baymax (Scott Adsit) who would inspire him to do good. The film’s screenplay doesn’t just follow the young life of Hiro Hamada (Ryan Potter) who is this brilliant and smart kid that can create robotic stuff including micro-bots as it would be something he and Baymax would have to go against as it’s under the control of a mysterious masked villain. While Hiro and his friends do have a suspect as it relates to a tech entrepreneur in Alistair Keri (Alan Tudyk) who would give Hiro an offer for his micro-bots earlier in the film at a showcase. Yet, there are some things that become complicated as it relates to the grief Hiro has for his brother Tadashi (Daniel Henney).

The film’s direction by Don Hall and Chris Williams is definitely extraordinary for not just the setting of the film but also in creating something that bends a lot of genre but knows what it wants to be. The look of San Fransokyo is definitely a marvel as it does look and feel like a city that has its own unique style while Hall and Williams use some wide and medium shots for the locations while going for the latter in some of the intimate moments involving Hiro and Baymax. The close-ups would play into some of the emotional moments while the direction also has some humor as well as scenes that showcase Hiro’s talents along with the things Tadashi’s friends are able to do. It adds to some lavish sequences that are added with some gorgeous visuals due to the contributions of cinematographers Rob Dressel and Adolph Lusinsky in how some of the scenes at night are lit.

Aided by production designer Paul A. Felix and art director Scott Watanabe as well as visual effects supervisor Kyle Odermatt in the way some of the scenes in the sky look with Odermatt creating a very surreal sequence that occurs late in the film. There is a richness to the animation while it also leans toward the world of comic books as Hall and Williams definitely maintain that look of a comic book as the characters in the form not only are inspired by comics but also play up its sense of whimsy and adventure. Overall, Hall and Williams create a fun and heartfelt film about a young tech prodigy fulfilling his brother’s wish to do good by becoming a hero.

Editor Tim Mertens does excellent work with the editing as it has some nice rhythms to play into the action as well as in some of the humor without deviating too much into fast-cutting techniques. Sound editor/designer Shannon Mills does amazing work with the sound in creating some sound effects as well as in the way Baymax sounds. The film’s music by Henry Jackman is fantastic as it has these amazing orchestral flourishes in the strings as it play into the sense of adventure as well as in the drama and suspense as it is a highlight of the film.

The casting by Jamie Sparer Roberts is great as it feature some small yet notable voice roles from James Cromwell as a tech college professor who sees promise in Hiro’s work with micro-bots, Maya Rudolph as Hiro and Tadashi’s aunt Cass who raises them and runs a café, and Alan Tudyk as the tech guru Alistair Krei whom Hiro and Tadashi’s friends suspect as the mysterious masked villain because he wants the micro-bot tech that Hiro created. Genesis Rodriguez is wonderful as chemist wiz Honey Lemon who becomes part of the team due to her creation of powerful chemicals while Jamie Chung is fantastic as GoGo as an electromagnetic wiz who is also very athletic. Damon Wayans Jr. is superb as Wasabi as neurotic laser engineer who creates weapons involving lasers as he is also the most cautious. T.J. Miller is excellent as Fred as the school’s mascot who is the biggest comic book nerd as he is the wild card of the team.

Daniel Henney is brilliant as Tadashi as Hiro’s older brother who shows Hiro the things he can do and his ambitions where an incident would lead to his passing yet would find a way to give his younger brother some wisdom. Scott Adsit is amazing as the voice of Baymax as this robot who is this object of innocence as his object is to help people in need as a medical robot as it’s a character that is so complex where it shows something that has a lot to offer as it’s one of the most adorable and heartfelt characters in a film. Finally, there’s Ryan Potter in a marvelous performance as Hiro Hamada as a fourteen-year old robotics prodigy who deals with loss as well as a lack of direction where he is determined to solve the loss of his older brother as well as deal with growing pains as Potter’s performance is a highlight of the film.

Big Hero 6 is a phenomenal film from Don Hall and Chris Williams. Featuring some amazing imagery, top-notch art direction and animation, a great voice ensemble, and a heartfelt story about doing good and coping with loss. It’s a superhero film with heart as well as providing something much more than just being entertaining and fun. In the end, Big Hero 6 is a sensational film from Don Hall and Chris Williams.

© thevoid99 2016

The Queen (2006 film)

Originally Written and Posted at Epinions.com on 1/28/07 w/ Additional Edits & Revisions.

Directed by Stephen Frears and written by Peter Morgan, The Queen is the story about Queen Elizabeth II dealing with new Prime Minister Tony Blair as they try to deal with the death of Princess Diana in a car accident in Paris. The film is a dramatization into Queen Elizabeth II's reaction to Diana's death as the world waits for her own public response as Blair is trying to modernize Britain in this second part of Morgan's trilogy about Blair's rise as he is played by Michael Sheen while Helen Mirren plays Queen Elizabeth II. Also starring Michael Sheen, James Cromwell, Helen McCroy, Alex Jennings, and Sylvia Syms. The Queen is a riveting film from Stephen Frears.

The film is an exploration into the arrival of Tony Blair as Prime Minister of Great Britain after 18 years of Conservative rule as he would meet Queen Elizabeth II where they would meet again a few months later following the tragic death of the former Princess of Wales Diana Spencer in a car accident in a Parisian tunnel. For the Queen and her husband Prince Philip (James Cromwell), they want a private funeral but Blair's statements about Diana as the People's Princess brings pressure to the Royal Family as Prince Charles (Alex Jennings) thinks Blair is on the right path. Eventually, the Queen gives in to Blair's ideas and the public scrutiny but it would come at a price for would come for Blair just as his popularity would soar.

Though it's more of a dramatic account of what might’ve gone on inside the monarchy and through Blair’s camp, Stephen Frears and screenwriter Peter Morgan does manage to bring a film that reflects on that week where the world watched. Really, the film is about Queen Elizabeth II trying to attain her role as a public figure and remaining true to her role of tradition and her own thoughts of Britain. Frears and Morgan deserve credit for portraying the Queen as well as other characters as figures who try to figure out what to do in this time of crisis concerning the death of Princess Diana. The result is a very strong, very cerebral film with a few entertaining moments courtesy of Frears' observant direction and the amazing screenplay by Peter Morgan.

Morgan's script is truly superb in how the characters are portrayed as well as the script's structure. The first fifteen minutes of the film is on Blair's arrival and his first meeting with the Queen and the last twenty-minutes is about the aftermath of the Diana funeral two months afterwards where Blair meets the Queen once again. Morgan comes up with some funny one-liners, particularly from the likes of personalities like Alistair Campbell (Mark Bazeley), the Blairs, and the Queen Mother (Sylvia Sims). The humor comes very naturally not only in the words those characters say but also in how they feel. Particularly Cherie Blair's known disdain for the monarchy about her curtsy. There's a lot of fine detail from Morgan's script about what might've gone on and it's truly an amazing screenplay. Especially through Frears' direction where despite a few moments where the film drags, the direction is spot-on through every moment of the film.

Cinematographer Affonso Beato does wonderful work in several of the film's interior settings to create the tense atmosphere of the palace where it's a bit surreal while the exteriors scenes are wonderfully shot. Particularly in the Scottish countryside where it's just amazing while giving the feeling that we’re in that area. Production designer Alan MacDonald with art directors Matthew Broderick (not the actor) and Franck Schwarz in creating the wonderful look of the castle and Buckingham Palace. Costume designer Constola Boyle does great work in the film's costumes with the suits and kilts of the men as well as the clothing of the Queen from her pink bathrobe to the suit she wears in her televised presentation. Makeup artist Daniel Phillips also does great work in bringing the look of both the Queen and Tony Blair where compared to their appearances in real-life, the actors in the make-up look eerily like the characters they're playing.

Editor Lucia Zucchetti does some great work in the editing, particularly using the archival TV footage from around the world including coverage of the funeral and the responses from world leaders as the film plays to a strong historical drama. Sound editor Paul Davies does excellent work in the sound, especially a scene where Charles goes to Paris and sees the body where the sound is turned off. Not only is it a smart decision by Frears but Davies as well for not including any sound. Composer Alexandre Desplat brings an amazing film score filled with chiming, melodic arrangements filled with a large orchestra to convey the sense of drama and movement of the times as Desplat's work is truly one of the best scores of the year.

The film's cast is wonderfully assembled with notable small roles from Douglas Reith as the chaplain Lord Airlie and Tim McMullan as Stephen Lamport. Mark Bazeley is excellent as the snide Alistair Campbell while Roger Allam is superb as the cautious yet loyal Robin Janvrin who advises Blair on how he should approach things. Helen McCrory is wonderful as Cherie Blair with her criticism of the monarchy and her own opinions just like the real Cherie Blair. Sylvia Syms is really good as the Queen Mother, who is the old traditionalist unaware of the new changes as she has a few funny one-liners about how no one tells her anything anymore. Alex Jennings is excellent as Prince Charles in portraying the prince as a father trying to comfort his boys and struggling with his own role in the public eye. James Cromwell is brilliant as Prince Philip, notably for just playing an old wanker who has a disgust towards Diana and the public response. Michael Sheen gives an amazing performance as Tony Blair with his hopes to modernize Britain and his unexpected support of the monarchy as a man who is unaware of how big his role is only to learn, much later on, on what the Queen told him.

Finally, there's Helen Mirren in what has to be one of the greatest performances captured on film. There are times in the film that the performance is strong, we're forgetting that it's Helen Mirren playing the Queen. Yet, Mirren brings a lot of restraint and dignity to the role, it almost becomes a documentary of sorts on whom the Queen might really be like. Mirren is very commanding in every scene she's in as she allows the Queen to be human and have a few funny lines including a scene involving her driving a car through the Scottish highlands. In the end, Mirren brings a performance that is worthy of being called regal and it's a must-see to show the talents and experience of this acclaimed British actress.

The Queen is a remarkable film from Stephen Frears and screenwriter Peter Morgan that features a magnificent performance from Helen Mirren in the titular role. Along with a great supporting cast led by Michael Sheen as Tony Blair, the film is definitely one of Frears' finest films as well as a poignant historical drama about Tony Blair's rise to prominence. In the end, The Queen is an incredible film from Stephen Frears.

Stephen Frears Films: (Gumshoe) - (Afternoon Off) - (Bloody Kids) - (Walter) - (Walter and June) - (December Flower) - (The Hit (1984 film)) - (My Beautiful Launderette) - (Prick Up Your Ears) - (Mr. Jolly Lives Next Door) - (Sammie and Rose Get Laid) - (The Grifters) - (Hero (1992 film)) - (The Snapper) - (Mary Reilly) - (The Van (1996 film)) - (The Hi-Lo Country) - (High Fidelity) - (Liam) - (Fail-Safe (2000 TV film)) - Dirty Pretty Things - (The Deal (2003 TV film)) - (Mrs. Henderson Presents) - (Cheri) - (Tamara Drewe) - (Lay the Favorite) - (Muhammad Ali’s Greatest Fight) - Philomena

© thevoid99 2014

The Artist (2011 film)

Written and directed by Michel Hazanavicius, The Artist is the story of a silent film star who meets a young dancer where the two becomes top movie stars. When the era of the talkies start to emerge, his career spirals while the dancer becomes a star of her own in the new era. The film is a homage to the world of early 20th Century cinema as Hazanavicius brings back the world of silent films into the 21st. Starring Jean Dujardin, Berenice Bejo, John Goodman, Penelope Ann Miller, Missi Pyle, Ed Lauter, Beth Grant, and James Cromwell. The Artist is an entertaining yet splendid silent film from Michel Hazanavicius.

It’s 1927 in the silent film era as George Valentin (Jean Dujardin) is the biggest movie star in Hollywood. At the premiere of his new film, he is received with great praise from moviegoers as a young woman named Peppy Miller (Berenice Bejo) accidentally stepped into the red carpet where photographers got a picture of her and George. Peppy suddenly becomes this mysterious star who eventually gets to be in a film with George as a dancer. When George’s studio boss Al Zimmer (John Goodman) shows George that the future is in the world of sound and the talkies. George doesn’t believe that it will be the future as his pride that things won’t change. Instead, the arrival of the talkies do change things as Peppy becomes a star.

Faced with the decline of silent films and the stock market crash of 1929, George’s attempt to make a silent film bombs when it opens on the same day as Peppy’s new film. His wife Doris (Penelope Ann Miller) leaves him while his longtime driver Clifton (James Cromwell) is fired because George couldn’t pay him. Though Peppy enjoys life as a movie stardom, she still wonders about George whom she cared about as she regrets what she said in an interview about the death of silent films. Wanting to help him, she wants to help revive his career in a big way.

The film is about the rise and fall of a silent film star in the emergence of the talkie film era as he’s forced to watch a young extra whom he discovered become a major star of her own. Told in the silent film era style, it is a film that revels in the world of entertainment and flash of those times where it’s being threatened by this new emergence of sound in pictures. For this actor, he refuses to believe that things are changing only till he’s realized that he’s out and this young woman he discovered is in. For this young woman however, she becomes this major star though she doesn’t forget the fact that she started out in a silent film and idolized this man that gave her the break she wanted.

Michel Hazanavicius’ script is fantastic for creating this rise and fall tale in the eyes of two people where one falls and another rises. While there isn’t a lot of dialogue present except in inter-titles, it’s more about this man dealing with the idea of being obsolete as he’s forced to sell his possessions and believe that he’s washed up. Yet, he still has people including a dog named Uggie that remains loyal to him. Though times may have changed, there are those that still know who he is and care for him. While the structure and formula is familiar with the rise and fall scenario, it works to convey the world Hazanavicius wanted to explore in that world of early 20th Century cinema.

Hazanavicius’ direction is truly magical in the way he re-creates the world of the silent film era. Shooting the film in the 1:33:1 theatrical aspect ratio of its time, Hazanavicius brings back that world where it’s all about entertainment and drama told through a physical form of acting. While there are actors who talk though dialogue isn’t heard as it cuts to inter-title cards. There is a great scene where George Valentin faces that future of sound in a scene where the sound becomes big as he’s in shock over what could be the future.

The framing is quite engaging in the way he shoots more than one person in a frame while having sets made to convey that world of old Hollywood. There’s also moments where the director also creates scenes of frantic moments to play up that nightmare of changing times and despair in the eyes of Valentin. Notably in the third act as he struggles to face the idea of being obsolete and washed-up where there’s some soft lenses to heighten the melodrama. The overall work that Hazanavicius does is truly marvelous for bringing back an old era of films back to the 21st century.

Cinematographer Guillaume Schiffman does a fantastic job with the black-and-white cinematography that is truly rich in its look while utilizing soft touches for some of its emotional moments. The editing by Michel Hazanavicius and Anne-Sophie Bion is superb for its stylish cutting approach to emphasize the rhythm of the music and action that appears in the film while utilizing dissolves and montages for its stylistic flairs. Production designer Laurence Bennett, along with art director Gregory S. Hooper and set decorators Austin Buchinsky and Robert Gould, is brilliant for the set pieces creating including the studio exteriors and film sets made for the movies that are made.

Costume designer Mark Bridges does a wonderful job with the costumes from the suits that the men wear including George’s tuxedos to the more stylish and lavish clothing of Peppy in her rise to stardom. Sound mixers Gerard Lamps and Michael Krikorian, along with sound editor Nadine Muse, do excellent work in the few sound pieces created for the film which includes the famous nightmare that George would have. The music score by Ludovic Bource is phenomenal for the way it carries the film as it’s the major technical highlight of the film. Featuring bombastic yet playful pieces to more sweeping yet dramatic orchestral pieces for its despaired moments as Bource’s score is definitely magnificent.

The casting by Heidi Levitt is another major highlight of the film as features wonderful appearances from Malcolm McDowell as a butler, Ken Davitian as a pawn shop owner, Missi Pyle as George’s co-star in the film’s opening scenes, Joel Murray as a policeman, Ed Lauter as Peppy’s butler, and Beth Grant as Peppy’s maid. Other notable performances in supporting roles include Penelope Ann Miller as George’s neglected wife Doris, James Cromwell as George’s loyal butler/driver Clifton, John Goodman as boisterous studio boss Al Zimmer, and a fun performance from Uggie as Jack Russell Terrier dog called Jack.

Finally, there’s the performances of Berenice Bujo and Jean Dujardin in their respective roles of Peppy Miller and George Valentin. Bujo brings a wonderful energy and charisma to the character as well as a sense of warmth in the way she tries to help Valentin. Dujardin brings a real charm to Valentin as well as an energy as a man on top while displaying great sadness when his character has fallen. Both Bejo and Dujardin bring great physicality to the silent roles they display while proving to be amazing dancers in some of the dancing they do together as they are the acting highlights of the film.

The Artist is a majestic film from Michel Hazanavicius that features delightful performances from Jean Dujardin and Berenice Bujo. The film is full of entertainment and spectacle as well as a story that audiences can be engaged by. Particularly as it revives an old style like the silent movie back and make it feel fresh again. In the end, The Artist is a triumphant and dazzling film from Michel Hazanavicius.

Michel Hazanavicius Films: (La classe americaine) - (OSS 117: Cairo, Nest of Spies) - (OSS 117: Lost in Rio)

© thevoid99 2012

Spider-Man 3

Originally Written and Posted at Epinions.com on 5/6/07 w/ Additional Edits.

Ever since Sam Raimi's film adaptation of the Spider-Man comic was released in 2002, the film was a smashing success as it proved that there's new life for film versions of comic books. Marvel's X-Men franchise and Hellboy both were big success though other comic book films like Daredevil, Fantastic Four, and The Punisher weren't well-received or beloved as other films. DC Comics even brought back old franchises of Batman and Superman with new films while in 2004, Sam Raimi released a new sequel to Spider-Man that drew rave reviews and huge box office. With the success of both films, it's no surprise that a third film would be made as Sam Raimi decides that this probably might be the last one for him.

Spider-Man 3 tells the story of Peter Parker's acceptance in being Spider-Man while finally gaining the love of his longtime sweetheart Mary Jane who accepts him both as Parker and as Spider-Man. Things seem to go right but until new villains arrive in the form of a man who has been revealed to be the real killer of his uncle while Harry Osborn has chosen to avenge his father in being the new Goblin. Making things worse is a new photographer vying for Parker's job while an alien lifeform has touched Peter's costume giving him newer, darker powers as well as changes to his personality. Based on the comic by Steve Dikto and Stan Lee, Spider-Man 3 is a more complex, darker story that reveals more of Parker's role in being himself and Spider-Man. With a screenplay written by Ivan Raimi, Sam Raimi, and Alvin Sargent, director Sam Raimi goes for more drama and action in this new film.

With an all-star cast that includes returning franchise players Tobey Maguire in the title role along with Kirsten Dunst, James Franco, Rosemary Harris, J.K. Simmons, Dylan Baker, Elizabeth Banks, Ted Raimi, and Bill Nunn. Joining the franchise for this third installment are Thomas Haden Church, Topher Grace, Theresa Russell, Bryce Dallas Howard, and James Cromwell. Oh, there's also the often-needed appearance from Bruce Campbell. Spider-Man 3 brings all the thrills, chills, action, and everything expect in a blockbuster. Only problem is, it brings in too much of all that with no cohesive story.

Peter Parker's life is on the upswing as he's found a balance in being himself and being Spider-Man.  He's got everything going well for him while his love life with Mary Jane Watson (Kirsten Dunst) is going great as she is about to star at a new Broadway play.  The only thing in Peter's life that hasn't been resolved is the strained friendship with Harry Osborn (James Franco) over the death of Harry's father and the revelation that Peter is Spider-Man.  Still overjoyed about his relationship with Mary Jane, Peter visit his Aunt May (Rosemary Harris) as she gives him the old engagement ring Uncle Ben (Cliff Robertson) gave her years ago.  Unfortunately, Peter's new happy life is briefly interrupted by Harry's attack as the new Green Goblin as well as a nearby meteor crash.

Peter's fight with Harry ends up having Harry unconscious as he suffers temporary amnesia where Peter feels like he's regained his old friend again.  Just as things are going well for Peter, Mary Jane is hit with bad reviews over her Broadway performance as she sinks into despair as Peter tries to comfort her.  When news that a convict named Flint Marko (Thomas Haden Church) has escaped and landed into an experimental sandpit, Peter learns from Captain Stacy (James Cromwell) about Marko who is revealed to be the man who killed his Uncle Ben.  Wanting revenge, Peter goes after Marko who is now the Sandman while dealing with a new young photographer named Eddie Brock (Topher Grace) who is after the staff photographer job at the Daily Bugle that Peter wants.

With Mary Jane's career going into a downward spiral and bothered by the presence of Peter's college classmate Gwen Stacy (Bryce Dallas Howard) whom Peter kissed as Spider-Man during a ceremony.  Meanwhile, a black substance appears into Peter's room where it changes Peter's attitude and makes his Spider-Man suit black as it plays into his new dark persona.  It would impact various relationships including Harry and Mary Jane as it would eventually tackle into Peter's state of mind as he fights not only the Sandman but another villain named Venom prompting Peter to get some unexpected help.

When films like comic book adaptations become franchises, sometimes they succeed in giving more time for character development and new adventures that will let the audience enjoy themselves. Then there's the idea where after one or two successful films, the next one has to be bigger and more appealing to a wider audience. For Spider-Man 3, it falls into the latter. While Sam Raimi does create what is expected in a blockbuster. Entertaining thrills and chills with lots of action, some romance, comedy, and such. The only problems is, he throws it all at once and overwhelms the audience. Even with a budget of $270 million plus a running time of nearly two-and-a-half hours, the result is a very bloated film.

One of those reasons is the script. The Raimi brothers plus Alvin Sargent clearly tried to put too many stories and subplot into one film. It starts out fine with the audience knowing what Peter Parker is up to, how happy he is and everything while having to deal with the new Goblin, Mary Jane's problem, and a separate scene involving Flint Marko.

Then, the film becomes episodic in some ways. Several scenes on their own are great to watch like the entire Bruce Campbell sequence as a French waiter with Peter's proposal plans is great on its own. Another group of scenes that was great is Peter Parker acting all super-cool with the black suit. The problems with those scenes is that it doesn't connect with the rest of the film. The script feels cramped with so many subplots, villains, and such. The story is lost with too many things. Even the theme of revenge, which is main moral purpose of the film, gets overwhelmed by the many stories that the writers tried to pull.

Then there's Raimi's direction. While Raimi is very good at capturing moments of drama, comedy, action, and all of that stuff. The problem is that he tries to give the audience everything they want. The result is a very inconsistent film that has a lot of great scenes and action. He just didn't know what to do with them. Even character favorites like Aunt May, Jonah Jameson, and Venom don't appear very much and have little to do. Then we have the new characters, with the exception of Flint Marko and Eddie Brock, that arrive and they're not really given much to do. Even Venom, who should've been in another movie with an entirely different story.

It's the excess that mars the film despite its emphasis to entertain. Still, Raimi does bring in a lot of fun to the film with references to previous Spider-Man movies. While fans of the previous films will enjoy that, they might feel that this third installment might not bring them enough closure or satisfaction. Though Raimi's intentions were good from the beginning, the result is clear that he tried to do too much.

Cinematographer Bill Pope brings some nice, stylish camera work that is just as intense than in previous films. Unfortunately, there's nothing new that hasn't been seen in those previous films. Though Pope has done good work and even better in the last film, he takes a step backwards and doesn't bring anything new. Production designers J. Michael Riva and Neil Spisak do fine work in creating some of the scenes but again, nothing new or exciting is created.

Costume designer James Acheson along with Katina Le Kerr create wonderful costumes with Acheson actually bringing something really cool to the black-suit Spider-Man wears along with new looks for the new Goblin. Editor Bob Murawski does some nice work on the editing in some sequences without going into the fast-cutting style that's in most blockbusters. Unfortunately, other sequences tend to drag which is really more Raimi's fault in his direction. Sound designer Paul N.J. Ottosson doesn’t bring anything new other than what's expected in a blockbuster film like this.

Visual effects supervisor Scott Stokdyk does create a lot of nice special effects with some great moments in the battle sequences. It's a highlight somewhat in the film but like the film itself, falls into the same trap of its excess. Taking over for Danny Elfman who scored the previous films is Christopher Young. While continuing to use the same themes that Elfman had created in the previous films. Young's score isn't very memorable as the ones Elfman had made. Though some of the jazz touches in a few of the scenes and show tunes are good, they don't work as a whole but only as individual moments.

The film's soundtrack again, is used for commercial purposes yet is more superior than previous films. With great cuts from Snow Patrol, the Killers, the Yeah Yeah Yeahs, Walkmen, and Flaming Lips, the soundtrack definitely leans towards indie music though cuts from bands like Jet and Beat Steaks aren't very good. A great track from the legendary Chubby Checker appears but doesn't fit in with the rest of the film.

Then there's the film's large cast. With small cameos from the likes of Raimi's own family like his kids plus brother Ted as Jameson's assistant Hoffman, Cliff Robertson in a brief flashback as Ben Parker, Bill Nunn as Robbie Robertson, and Stan Lee. The cameos are fun and nice to watch though one cameo from Willem Dafoe doesn't work this time around. While he had a nice cameo in the last film, Dafoe is mis-directed by giving a hammy performance that doesn't work.

Other small performances from Elya Baskin as Peter's landlord from the last film, Mageina Tovah as the cookie girl from that same film, and Elizabeth Banks as Miss Brandt are nice to watch, even in scenes where Tovah and Banks are being flirted by the bad Peter. Dylan Baker is good in a brief role as Parker's professor who studies what the symbiote does while Perla Haney-Jardine is good in her small role as Penny Marko.

While the talents of people like Rosemary Harris, J.K. Simmons, and Theresa Russell are wonderful to watch. They have the unfortunate of appearing in the film very briefly. Theresa Russell only has one scene as Flint's frustrated, protective wife who despises her husband and it's too short. J.K. Simmons, who was a joy to watch in the last movie, doesn't appear as much as audiences would've wanted. It's a shame since he is one of the film's comic relief and Simmons always gives a great performance. Sadly, there's not enough of him.

The same for Rosemary Harris who had a lot to do in the last one but only appears in five scenes. While she is great in being the wise, maternal figure that Peter needed, she's just not there enough and often has to pop up when the film has to call her. It's a shame that she's not used enough. One performance that is good yet feels out-of-place is Harry's butler played by John Paxton. While he has appeared briefly in previous films, he has more but brings a lot of confusion to audiences in why he's here. He's good but feels out-of-place and what he tells Harry does create a plot-hole that would affect the entire trilogy.

There is no doubt that Bryce Dallas Howard is a very good actress despite appearing in two very bad films by M. Night Shymalan. Howard is really given nothing to do but look pretty, act like she gets in trouble and become a new love interest. It's obvious comic book purists won't like the way Gwen Stacy is used since she is the only other female friend in Peter's age group that he has aside from Mary Jane. Howard, despite what she has to do isn’t given anything to do. Topher Grace fares better in his role as the arrogant, competitive Eddie Brock who is kind of Peter's opposite in terms of trying to get a good photo and such. Yet, when Brock loses everything, Grace shows depth in Brock's despair and later, his transformation where Grace really proves his range that he can play creepy characters.

Thomas Haden Church gives an excellent performance as Flint Marko/Sandman. While having a similar presence to what Alfred Molina have as Doc Ock in the previous film, Church managed to sell his complex performance as a man who runs into bad luck in his attempt to do the right thing. While Church managed to be interesting as Sandman, he does fell for the same kind of villainous trap that's been seen in other films. It's the script that fails him a bit later on though Church's performance is a standout. James Franco is good when he's being bad but when he's acting like all good, it doesn't work. Plus, he has a tendency to overact when he's being really emotional which makes his entire performance uneven.

Kirsten Dunst gives probably her best performance in the entire franchise. Probably because her character has to deal with realism and being the role of Spider-Man/Peter Parker's girlfriend. Dunst truly sells herself with a restraint and maturity that is very different from her previous roles. While she does have to be the same damsel-in-distress that she has done in other films, at least she got more to do.

Tobey Maguire is again, excellent in his performance as both Peter Parker and Spider-Man. Maguire sells the good boy performance while adding more flaws to the character as Parker acts over-confident and such. Yet, when McGuire starts to act bad, it's all done in comic gold. Maguire looks like he's having fun in playing bad and even when he's good, he's still having fun. Maguire gives a great performance though kind of fall shorts from the one he gave in the last one. The film's best performance is indeed, Bruce Campbell. Though it's only for less than 10 minutes, his entire sequence is truly one of the best. Campbell definitely sells himself with a bad French accent, waiting for Parker to give a signal and such. The man should be rewarded. He played Ash and Bubba Ho-Tep. This film is not about Spider-Man, it's about a guy named BBBBBBBRRRRRRRRRRRUUUUUUUUUUUUUCCCCCCCCCCEEEEEEEEEEEEE!!!!

While the film does bring in what is expected in high-octane entertainment, Spider-Man 3 falls very short of its expectations and in comparison to its predecessor, the weakest so far. While the film has a nice cast, some cool visual effects, action and such. The end result is a film that falls into the cliche of bigger is better mentality. While it's no doubt Sam Raimi is a great director, he definitely fumbles in trying to create a film for everyone which is impossible.  The overall result is a very bloated and excessive film that tries to please everyone only to leave everyone disappointed.

Related: The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Homecoming - Spider-Man: Far from Home - Spider-Man: No Way Home - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)

Sam Raimi Films: The Evil Dead - (Crimewave) - Evil Dead II - (Darkman) - Army of Darkness - (The Quick & the Dead) - (A Simple Plan) - (For the Love of the Game) - (The Gift) - Spider-Man - Spider-Man 2 - (Drag Me to Hell) - (Oz the Great and Powerful) - Doctor Strange in the Multiverse of Madness

© thevoid99 2011