Spider-Man Perfectly Flips the Raimi Movies' Most Cringeworthy Moments
Warning: Contains spoilers for The Amazing Spider-Man #2!
One of the most lovable qualities about Sam Raimi's Spider-Man movies is the fact that they are so delightfully cheesy, but a recent comic takes one of the cheesiest moments and gives it a more realistic feel. Raimi's trilogy evokes and embraces the campy spirit of the character's early '60s comic book adventures. A classic example is the scene from second film where, after a thrilling train sequence, an unmasked Spider-Man is heralded onboard by a hoard of civilians like a Christ-like figure.
For some audiences, however, emphasizing the cheesy tone of early Golden Age comics sacrifices the modern realism that audiences would come to favor post-Dark Knight. Yes, for many, it's endearing to see a crowd of people all agree in unison not to reveal that Peter Parker is Spider-Man to the media as he's unmasked. But for others, it's hard to believe that at least one person on that train wouldn't be tempted to sell out Peter's image for money or fame. Modern audiences may take a once uplifting moment and view it as overly schmaltzy or cringe-inducing today.
Related: Spider-Man's Secret Identity Officially No Longer Matters
Interestingly enough, it is in the comics where the tone of such a supposedly schmaltzy moment becomes suddenly plausible. The biggest difference here is that instead of a civilian put in a position to protect Spider-Man, it is a supervillain. This happens in The Amazing Spider-Man #2 by Zeb Wells and John Romita where White Rabbit orders her contact to shoot the wall-crawling Spider-Man, but surprisingly, he refuses. «He pulled me out of a burning car,» the contact says. «What do you want me to do?» This evokes the same tone and purpose as the
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