When bitten by a genetically modified spider, a nerdy, shy, and awkward high school student gains spider-like abilities that he eventually must use to fight evil as a superhero after tragedy befalls his family.
The human government develops a cure for mutations, and Jean Gray becomes a darker uncontrollable persona called the Phoenix who allies with Magneto, causing escalation into an all-out battle for the X-Men.
In the 1960s, superpowered humans Charles Xavier and Erik Lensherr work together to find others like them, but Erik's vengeful pursuit of an ambitious mutant who ruined his life causes a schism to divide them.
Peter Parker has finally managed to piece together the once-broken parts of his life, maintaining a balance between his relationship with Mary-Jane and his responsibility as Spider-Man. But more challenges arise for our young hero. Peter's old friend Harry Obsourne has set out for revenge against Peter; taking up the mantle of his late father's persona as The New Goblin, and Peter must also capture Uncle Ben's real killer, Flint Marko, who has been transformed into his toughest foe yet, the Sandman. All hope seems lost when suddenly Peter's suit turns jet-black and greatly amplifies his powers. But it also begins to greatly amplify the much darker qualities of Peter's personality that he begins to lose himself to. Peter has to reach deep inside himself to free the compassionate hero he used to be if he is to ever conquer the darkness within and face not only his greatest enemies, but also...himself.Written by
Grant Curtis: producer appears as one of the two security guards in the truck that got hijacked by Sandman. See more »
In the bell tower when Peter's tearing the black suit off, there is a shot from behind where he goes to slam his right fist down, but it's his left fist that lands. See more »
It's me! Peter Parker! Your friendly neighborhood... You know. I've come a long way from becoming the boy who was bitten by a spider. Back then, nothing seemed to go right for me, and now...
Kid in Times Square:
[pointing at a giant screen in Times Square]
Hey look, it's Spider-Man!
People really like me.
See more »
During the opening credits, snippets from the first two films can be seen. Also, some of the filmmaker's names appear and then blow away, as if made of sand. The black symbiote also makes a brief appearance. See more »
In 2017, in anticipation for Spider-Man: Homecoming, Sony released an "Editor's Cut" of Spider-Man 3. This cut mostly utilizes an unused score, alternate edits of scenes, a restructured story, and scenes both added and removed throughout. With all of these changes, this version runs 2 minutes shorter than the theatrical version. See more »
'Spiderman' was clearly conceived from the beginning as a story about Peter, Mary Jane and Harry. Whether you want to see it as a love triangle, or a retelling of ancient mythologies concerning revenge, betrayal and the ghosts of father figures, these three characters were introduced in the first movie's opening scenes, and it their dynamic that has driven the narrative ever since until now.
While 'Spiderman 3' is by no means a bad movie, it is nowhere near as good as it should have been and fails to satisfy for the simple reason that Sam Raimi forgot what these movies were about. For the first movie, Raimi had the writing talents of David Koepp, one of the most successful screenwriters around. For the sequel, Pulitzer Prize winning Michael Chabon contributed to a screenplay written by the Oscar-winning Alvin Sargent. For the third installment, Raimi makes the all too common mistake of developing delusions of grandeur and feeling that he can take over the writing duties himself. Though Sargent is credited as a co-writer, it's clear from the mess of a screenplay that his input was limited. Raimi's screenplay forgets everything that the two previous movies stood for and were clearly moving towards, and abandon all dramatic consistency and cohesive storytelling in favor of redundant characters supplying equally redundant CGI set-pieces.
'Spiderman 3' feels as though it was made by different people with a different vision. The emotional drama between Peter and Mary Jane, so carefully built over the last few years, becomes illogical soap opera theatrics. Harry becomes a leering painter of Impressionist masterpieces. Peter starts crying all the time and develops a 'Saturday Night Fever' obsession. Sandman is completely redundant, receiving no character development and vanishing as inexplicably as he arrived. Similarly, Eddie Brock serves absolutely no purpose in the movie other than to become Venom in the final scenes. Very little of New York or its citizens are involved in the story, which is claustrophobically self contained there are barely two scenes in the newsroom and the citizens of New York rarely seem to be in real peril.
Again, it needs saying that 'Spiderman 3' is by no means a bad film, but it does nothing to close out the trilogy or provide anything close to satisfying emotional or dramatic closure, the fault for which can only be laid, unfortunately, on Sam Raimi.
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