It would actually be very easy to be cynical about Spider-Man: as the first movie to gross $100m in its opening weekend, and one of the two Marvel prototypes (along with 2000’s X-Men) for the modern comic book movie, it set trends that would become ubiquitous with everything naysayers like to hate about the superhero bubble. That huge box office milestone was also the start of the race to gamify instant box office takes that has probably killed a lot of good creative seeds before they were ever allowed to blossom. But the first in Sam Raimi’s Spider-Man trilogy doesn’t really have anything direct to do with those: it’s not a cynical ploy.
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