Tobey Maguire—the lead character, again, in Spider-Man 3—doesn't need to worry about having to emote while in the thick of the action, unlike other actors who play superheroes. Spider-Man, after all, wears that faceless, expressionless S&M mask that leaves emotions out of the equation when he swings into rescue mode. But Spider-Man's alter ego, Peter Parker, is still so hopelessly thick with emotion that it's almost a blessing when he puts on the blank mask and leaves the angst behind. Like the previous entries in the series, Spider-Man 3 alternates between fast-as-lightning action sequences and syrupy melodrama. The result is a strange hybrid that is strong on the visual pyrotechnics and weak with all the florid, tiresome motivations of the earthbound characters.
Like all second sequels, many complications need to be introduced to keep the audience engaged—which Spider-Man 3 does with ease. Peter's relationship with Mary Jane ( Kirsten Dunst ) again leads back to the love triangle with his rich best friend Harry ( James Franco ) . Also back ( briefly ) is Willem Dafoe as Harry's late father and Spider-Man's previous archenemy, the Green Goblin, who still taunts Harry for his artistic, 'soft' aspirations. Another villain, the Sandman ( Thomas Haden Church ) —who may or may not have killed Peter Parker's uncle and who is the subject of some terrific special effects sequences—also shows up.
Topher Grace ( complete with nifty blonde highlights ) also shows up as Eddie Brock, a competitor for Parker the news photographer. The campiest complication involves the black, gooey material that has dropped from outer space and conveniently attached itself to the Spider-Man costume, turning the superhero into a super jerk without a conscience. This also affects Peter Parker, who gets dark eye shadow, the Cleopatra haircut that Barbra Streisand sported in the 1960s and the idea that he's now a chick magnet.
The result of this messy stew of plot complications is a high-carb picture that switches tone and motivation about every two minutes. Spider-Man 3 is like trans fat for your brain—you know it's processed and phony even as you're being taken in by its sheer size, but it also tastes pretty good while you're consuming it. For best results, be sure to eat lots of junk food while watching this junk food of a movie.
The Hawk Is Dying couldn't be further from a typical Hollywood blockbuster, and is more challenging for an audience hungry for offbeat, great acting, which is definitely on display. Writer-director Julian Goldberger's film offers Paul Giamatti a role with the depth of his career-shifting part in Sideways.
The Hawk Is Dying is tough going because it resists boundaries and its small story is filled with odd characters who defy expectations and don't seem to belong together. Set in Gainesville, Fla., Giamatti plays George, an auto upholsterer who lives with his conservative, fussy sister Precious ( an alternately charming and emotionally intense Rusty Schwimmer ) and her 20-year-old son, Fred ( the fearless Michael Pitt ) , who is autistic. George's passion involves capturing and training falcons, an obsession that Fred seems to share. Several hawks captured by the two have died in captivity but early in the picture Fred captures another—a rare red-tailed hawk. This time George is determined to keep his bird of prey alive. 'A bad man can't train a hawk—only someone with simple human feeling,' George says at one point. But tragedy will come into play as George again reaches for this elusive goal.
Giamatti plays a character who seems to exist in a perpetual state of anxiety, a man who doesn't find solace anywhere—not even in the presence of the hawk ( which actually seems to exacerbate and mirror his inner tension ) . Yet his motivations, in general, are so self-contained that it's hard to connect him with the other characters. In fact, so little is explained about any of the characters for so long that Precious might be George's wife, or Fred could be his son or brother. In fact, I misinterpreted how the character of Betty ( Michelle Williams ) , whose presence helps set the small plot into action, was connected to the others. I took her to be a bored, sullen prostitute who counted George as a longtime client while the synopsis in the production notes describes her as a psychology student interested in Fred's affliction as potential thesis material!
I don't think that's a reflection of Goldberger's writing or directing—what would seem on the surface his inability to draw three-dimensional characters is just the opposite. The Hawk Is Dying is a tough, emotionally difficult film that has the rare ability to haunt you after you've seen it. It seems to exist in a dream state, and that's the potential effect that it has on a receptive audience eager for complicated material. The film is getting its exclusive Chicago premiere beginning this Friday at the Gene Siskel Center. www.siskelfilmcenter.com
Film Notes:
—The Day the Earth Stood Still, the 1951 sci-fi classic starring Michael Rennie and Patricia Neal, is just one of the numerous films that will be screened as part of the Music Box's 'Sci-Fi Spectacular,' a 14-hour movie marathon this on May 5 and 6. Perhaps even more spectacular than seeing classics of the genre like Metropolis, Forbidden Planet and La Jette ( the inspiration for 12 Monkeys ) on the big screen will be the opportunity to see star Neal ( still affable at 81 ) in person at the screening. www.musicboxtheatre.com
—DVD releases of note: Okay, all you show-tune and karaoke queens, here comes Dreamgirls, available from Paramount Home Video in single- or double-disc versions. The former has a few extras, while the latter is packed with enough goodies to make your heart sing. Both offer the opportunity to again relive Jennifer Hudson's Oscar-winning performance. Also out this week from Paramount is Diana Ross in her unintentional camp classic, Mahogany. Part Project Runway and part America's Next Top Model, this 1975 melodrama isn't a musical but cries out for parody. ( Are you listening, Handbag Productions? )
Check out my archived reviews at www.windycitytimes.com or www.knightatthemovies.com . You can leave feedback at the latter Web site, where you will also find ordering information regarding my new book of collected film reviews, Knight at the Movies 2004-2006.
