The key to sci-fi comic movies seeking a breakthrough lies in the "thrilling confrontation of the forces of good and evil" and the "magical application of movie special effects", which are fully demonstrated in "Spider-Man 2".
The fight between "Doctor Octopus" and "Spiderman" must be thrilling, which puts higher demands on movie special effects. The film allows the audience to focus on the three main scenes where the two met on a narrow road: a battle of wits in the subway, a collection of various special effects, up to 10 minutes; when Spider-Man wants to confess his heart to his girlfriend, "Doctor Octopus" is directed at where they are. Dangerous scenes of rampage from the deli; and the ups and downs of the clock tower battle.
In addition, the film also shows for the first time Spider-Man’s new shuttle magic-sneaking and avoiding in a small space. Among them, there are already large trucks that are driving fast, passing by the gap between the truck head and the carriage, and chasing the murderer. Gangsters; there are scenes of shuttles in the speeding traffic. Spider-Man is fast speeding close to the ground, but also avoiding the oncoming cars. The scene is extremely tense and dynamic.
The success of "Spider-Man 2" lies in the realistic and imaginative visual effects, but it also depends on the humble, bitter and sweet description of Spider-Man as a small person.
Like most sequel movies, "the old revolution encounters new problems" is the main method of "Spider-Man 2" to create dramatic conflicts and create action scenes. But the extraordinary thing about Spider-Man 2 is that it uses more space than the battle between good and evil to describe the inner struggle of the protagonist "whether to be a hero". For a comic-based movie that mainly relies on special effects scenes to attract audiences, this is a risk. "Spider-Man 2" was able to succeed, one is because it portrays this kind of struggle of Spider-Man as both humane and interesting, and the other is because these psychological struggles actually coincide with the film's growth theme, and it is easy to resonate with young audiences. The three films organically combine this part of the content with the battle between good and evil, making the plot development of the whole movie very smooth.
The sequel spares no effort to show Spider-Man’s distress, superpowers not only failed to make happiness easily accessible, but also became a burden: because to be a hero, there is no energy to complete school; because to be a hero, I am afraid of hurting the girl I like and dare not confess. ;Because of being a hero, being misunderstood by best friends, etc., for audiences who are accustomed to those superpower heroes who are omnipotent from heaven and earth, wind and wind, rain and rain, this design can give them Brings a fresher experience of bit effect scenes.
The inner suffering of the previous super heroes mostly came from how to do things harmful to mankind without being controlled by super powers. The split personality of Batman, whose inner world is slightly complicated, is still the cliché of Freud's childhood shadow. For the general audience, this character still hasn't walked down from the altar, and even his pain seems so unattainable. Now that Spider-Man is here, the audience looks at this hapless guy, is reprimanded by the teacher, abandoned by his girlfriend, even if they are going to deliver the pizza, they are still late, and finally get fired. How can the audience not have a great sense of superiority, along with those little gimmicks that are deliberately pleasing to others, continue to laugh heartily.
To be honest, there is something deliberate about the design of Spider-Man's "Little People's Frustration". In essence, "Spider-Man 2" is still a summer movie that relies on the influence and special effects of the original comics to attract audiences. Its greatness is that it provides a possible way to balance the stunts, scenes, and human descriptions. Before Spider-Man 2, it had always been considered a fish and a bear's paw.
However, it cannot be ruled out that the tastes of audiences in this era are undergoing some subtle changes. To gain their approval, it is necessary for film creators to make some small changes in the psychological appeals of audiences. Such changes need not be revolutionary. Sexual, not even innovative, as long as it is timely. For example, "Spider-Man 2" is just a very limited subversion of idealism and heroism in postmodern society.
