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There’s also the rush and thrill of the action sequences which are big, brash and over-the-top in a comic-book way. And while the film’s tone is erratic, when it works the film is fun.
A number of early Ultra HD discs had a darker image than the Blu-rays, but this 4K disc retains its bright palette and has a rather nice layer of film grain. Complexions err towards warm, but aren't too out of the ordinary. Visual effects can look soft in places, especially when Paul Giamatti’s Aleksei Systevich makes an appearance in an awful-looking Rhino suit late on. So, with this reboot, we would bid Raimi adieu, along with Tobey Maguire, Kirsten Dunst, James Franco ( "sooo good"), the late Cliff Robertson, three shades of Bruce Campbell, and the perfectly cast Rosemary Harris and J.K. Simmons. Usurping the iconic Raimi and his wealth of experience would come a man with only one feature film credit to his name, as Marc Webb was selected after his work on the romantic-comedy '(500) Days of Summer.' Real-life couple Andrew Garfield and Emma Stone would replace the somewhat hammy, over-the-top (and somewhat over-aged for their roles) Maguire and Dunst, and Rhys Ifans would get the role Baker had been primed for. I can't say that I was exactly excited to see the finished product, and it took me some time to get used to this new image, especially after years and years of repeat viewings of the original trilogy. Denis Leary who is always good joins the cast as Gwenn's father – police Captain Stacey, and as is becoming a trend in super hero movies, big name actors are playing the parts of the hero's parents, or in this case uncle and aunt, with Sally Field and Martin Sheen taking on the roles of Aunt May and Uncle Ben. Both, as usual give very polished performances.
Marc Webb has done a fine job. There are holes in the script and story, but they are not that noticeable, and it can get a bit clichéd at times, but these things are to be expected in a big budget film such as this; however they can also be forgiven.
It’s a more colourful, richer and vibrant image too, as the 4K HDR version digs deeper than the Blu-ray. Spider-Man’s suit is made up of deeper and better defined blues and reds (especially with the Oppo 203). The luminescence that surrounds Foxx’s Electro takes on an even more palpable glow and the lighting in scenes seems vastly improved making for an evocative, natural-looking image. Presented in 1080p (with an AVC MPEG-4 encode at 2.40:1), 'The Amazing Spider-Man' surprised me with its visuals. I was so used to the Raimi films, which featured candy coated bright colors and lots of daylight, that it took me some time to get comfortable with the constant gloom that lingers over this film, this isn't meant for Saturday morning viewing. Once I got my bearings with the change in visuals, though, I came to appreciate this as one of the best looking Blu-rays on the market, in a somewhat subliminal way, as the picture isn't at all "in your face" with how truly amazing it is. The credit goes to the RED camera system, but more specifically, the RED Epic, capable of filming 3D picture at 5K resolution. Dr. Connors wants to create a world without weakness and, in doing so, discovers a way for humans to regenerate missing limbs through studies in cross-species genetics. Here, sneaking into Oscorp, Parker is bitten by a radioactive spider and … well … you know the rest. He becomes Spider-Man. Connors becomes The Lizard. With a playful sense of humor, Webb examines the daily life of a teenager suddenly granted powers that are certainly unnatural. This time, though, the writers give Parker the comic book-approved web shooters which should please the fans as he takes to the rooftops and fights crime.Discover our blog at http://glft.co/Gameloft_Official_Blog for the inside scoop on everything Gameloft. Adventure in a larger 3D open-world Manhattan with 6 detailed districts to explore, from the bustling Times Square to picturesque Central Park! What's really interesting about 'The Amazing Spider-Man' is the way it makes Connors a character that we come to know and understand, more than we do Uncle Ben in his limited time. This seems awkward, but I felt it made more sense, since the 2002 iteration seemed like it was a film divided into distinct chapters, rather than maintaining a steady flow and story. We don't have lengthy transformation sequences for the villain, as story is the focus rather than effects, and it works, helping keep this extraordinary story grounded in realism rather than going off the fantasy deep end. The villain, who seems like a bit of the ol' Jekyll and Hyde, is one we care for, and his path mirrors Parker's from loss to gain, though it is twisted in a more tragic manner.
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