The result is a story that has made so much room for extra setup that it lacks meaningful resolution. However, for a large chunk of the story, Harry ends up with amnesia, which isn’t a problem in and of itself, but he’s completely sidelined in the process, and remains absent for a significant portion of the runtime when he should be a central figure. Violent reprisal becomes a cycle which Peter needs to break. Harry is a prime fixture of this theme as well, and he helps close a loop in which Spider-Man is both a recipient of vengeance - for his perceived role in Norman’s death - as well as a perpetrator of vengeance against Marko, who he tries to kill for his hand in Ben’s demise. In comparison, Flint Marko exists to dredge up Peter’s unresolved anger over the death of Uncle Ben, which in turn leads to a story first and foremost about revenge. Venom wasn’t originally part of Raimi’s plan - producer Avi Arad suggested the character since he was a fan-favorite - and so the presence of both Brock and the symbiote feel as if they’ve been layered atop a story that doesn’t really need them. It’s an outcome of their comic book relationship, and it occurs through sheer coincidence in the film, while doing little to enhance Peter’s story. The fact that Brock and the symbiote eventually fuse is a matter of logistics. In addition, the presence of career climber Eddie Brock (Topher Grace) also serves a similar function, in that he reflects a more ruthless and uncaring version of Peter - a version Peter transforms into anyway during the story, rendering Brock practically useless. Take, for instance, the alien symbiote: Its function in the film is to magnify and enhance Peter’s aggression and insecurity, and while it does so in wildly entertaining fashion, it merely speeds up the story which the film is already telling via its fraught romantic relationship and the way Peter becomes blinded towards his own ego.

Some themes feel discordant, given their lack of meaningful overlap, while others feel perfunctory, since they tell a story that’s already being told elsewhere in the film.

Day 9: Spider-Man: No Way Home and Peter Parker’s Most Difficult ChoiceĮach villain’s individual trajectory reflects or magnifies some element of Peter’s personality, but even at 140 minutes in length, the movie is unable to balance this hefty combination.

Day 8: Spider-Man: Far From Home Fumbles Its Tale of Power and Responsibility.Day 7: Spider-Man: Into the Spider-Verse Explores the Meaning Behind the Mask.Day 6: Spider-Man: Homecoming Lives in the Moment, For Better and For Worse.Day 5: The Amazing Spider-Man 2 and the Spider-Man Who Ran Out of Time.Day 4: The Amazing Spider-Man Goes Through the Origin Story Motions.Day 3: Spider-Man 3 Is Both Better and Messier Than You Remember.Day 2: Spider-Man 2 and Choosing a Suit.

Day 1: Sam Raimi’s Spider-Man and Choosing Responsibility.The symbiote simply happens to land in Peter and MJ’s vicinity, and Marko hasn’t yet been connected to Uncle Ben’s murder, so for an extended period, the film feels as if it’s merely jumping between random, unconnected events. Of the three consecutive sequences, only Harry’s has even a hint of causality related to Spider-Man - who he believes killed his father - and none of them are causally related to one another. Nowhere is this more apparent than in the back-to-back scenes where Peter’s vengeful best friend Harry Osborn (James Franco) experiments on himself with the green gas his father used in the first film, followed by the arrival of the Venom symbiote on Earth in the background of a Peter/MJ scene, followed by The Sandman/Flint Marko (Thomas Haden Church) running to evade police. One of the chief complaints levied at Spider-Man 3 is its abundance of antagonists, but the problem isn’t simply numerical.

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