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The Battalion
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"Spider-Man 2
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Columbia Pictures
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Review by Jimmy Hissony
July Special
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In accordance with a common cliche,
“Spider-Man 2” swung into theaters last
weekend. Directed by Sam Raimi, hero
of the television screen, the film has al
ready surpassed its predecessor in sales
and expectations.
Two years have passed since Peter
Parker (Toby Maguire) first dawned blue
and red spandex, and life has become
complicated, as he is bombarded with a
multitude of personal tribulations regard
ing love, money and every other college
woe, while his alter ego is assaulted by the
mechanical malice of Dr. Otto Octavius
(Alfred Molina).
Even though the emotional ante has been
raised significantly for this sequel focus
ing on the escalating relationship between
Parker and Mary Jane Watson(Kirsten
Dunst), the film remains loyal to the law
of action in summer screen successes, and
audiences will wait to exhale during key
pulse-pounding moments.
Leaps from the highest points of the
NYC skyline, runaway subway cars, and
the tangling of webbing and giant steel ap
pendages cannot fail to impress.
But despite the surge of adrenaline
the film is likely to inspire, it is the hu
mane story at the heart of the picture
that produces the satisfaction that other
Daredevils, Punishers and other comic-
inspired movies lacked. “Spider-Man 2”
is faithful to the spirit of Stan Lee’s inven
tion, who makes an appearance in the writ
ing credits and onscreen, while maintain
ing the attention of love-sappy girlfriends
in the chair next to you.
The film takes a few liberties with the
original Spidey comic book storyline, but
none far enough to annoy even the most
anal of comic book nerds (guilty).
A swim through the flood of mega-
marketed summer blockbuster movies
can leave anyone with the stings of re
leases predetermined for the video cas-
Review by Carrie Pierce
just because you’re a student,
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coming august 2004
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Next door to Canterbury House,
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Sunday School 9:30 a.m.
Morning Worship 10:45 a.m.
Robert D. Chandler, Minister
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Lately, movie soundtracks
hardly reflect the movie they
come from, sometimes even
leaving off memorable title
tracks. “Spider-Man 2: Music
from and inspired by” is just the
opposite, with its catchy rock
songs that seem to be direct re
flections of the plot.
Tilled with emo hits and pow
erfully guitar-driven rock songs,
the “Spider-Man 2“ soundtrack
is a surprisingly good mix of the
top alternative, pop and rock
bands.
The album is a bit softer than
one would expect from a movie
filled with violence and de
structive action, playing more
into the emotional turmoil Pe
ter Parker faces within his love
story with Mary Jane.
Most of the songs seem to
have been written directly re
flecting the movie. Half of
them have references to spiders,
fighting or New York City.
The album starts out strong
with Dashboard Confessional’s
“Vindicated,” in which front
man Chris Carrabba spins spi
der-oriented lyrics in his usual
heartfelt fashion: “Hope dan
gles on a string, like slow-spin
ning redemption,” he croons
out, tapping into Peter Parker’s
emotional conflicts.
“Hold On,” by the Austra
lian band Jet, continues with
the turmoil by adding a touch
of folk. The well-crafted and
engaging lyrics make it sound
like something out of the
1960s, but it fits right in with
this album’s mix of rock.
Lor listeners who prefer more
upbeat pop-rock, “Ordinary” by
Train is just that. The reference
to “anything but ordinary” sure
ly is about Parker and his life
style of half man, half spider.
Such songs as Taking Back
Sunday’s “This Photograph is
Proof (I Know You Know)”
continue with more upbeat, in
triguing guitar riffs mixed with
powerful vocals.
Possibly the most powerful
song on the album is “Gifts &
Curses” by Yellowcard, be
cause it is the song most direct
ly inspired by the movie. With
blistering guitars, violins and
the beginning lines “Mary be
longs to the words of the song,
I try to be strong for her, try not
By l
THE /
to be wrong for her, she ml
wait for me anymore.”“Gif
Curses” is a love sing »is
from Peter Parker’s penf ^ORTl,
about Mary Jane.
Th i s song reflects the mr u4day bt
such a clever way thatthea i clergy
lyrics “Every bone I
all for you” are permi!
The album concludes 1 Isofcoi
edentec
lan Cal
two pieces by the
tual composer, Danny Ell
“Spidey Suite” is son
electronic and tribal,
the dark and action |
whooshes and whips tk._
to accompany comic-inff
movies. “Doc Ock Suite”
things down withamorel)i |
ing feel that builds into);
trospective romantic si
shifts back to brooding,fnl es tj n g ,
o othe
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ending on a somber note.
Overall, this album is
tive of the emotionally Jr ling Qr
and action-packed movie
is a good collection of
by bands that are just mi
it big. For a collection of J
that actually tell a movie's!
ry, this is the one to
Conservative
Continued from page 3
as seen through his eyes, Moore succt
in his crusade, as those who haveevetl|
skeptical of Bush will be seeing 20
J
but he’s showing us “the truth.” He vehemently denies
that his film has knowingly misrepresented anything,
and says all information is true.
As for its accuracy, who knows anymore? An
undisputed truth barometer seems nonexistent
nowadays, as Moore has created a “war room” of
fact-checkers and political analysts dedicated to de
fending all information in the film (interestingly, he
also threatens to sue any who libel him), and despite
that, there are already hundreds of published reports,
articles and Web sites contesting every allegation and
fact stated in the film.
That being said, from a filmic standpoint, “Fahren
heit” is thought-provoking, entertaining and well-made.
The funny moments are hilarious, and the serious mo
ments are heartbreaking. A sequence of photographs of
smiling Bushes posing with Saudi royals, set to REM’s
lyrics about “shiny happy people holding hands,” and
the 1940s-style travelogue reel of the “Coalition of the
Willing” are classic Moore. Among the most captivat
ing is the footage of the president being informed by
aides of the World Trade Center attacks during an
elementary school visit on the morning of Sept. 11,
2001, and the horrific images of desecrated American
soldier corpses, which were outlawed in the media by
the Patriot Act.
The movie deserves the praise it receives because
it encourages us to question the government and the
media. By exposing Bush connections and showing the
painful, gruesome side of war, Moore presents inefface
able illustrations of the workings of power, corruption,
democracy and war in the human race.
Yes, it’s biased, and no, it’s not a documentary — but
this testament to the First Amendment is nothing to fear.
If you believe that a documentary filmmaker assumes
journalistic responsibility, this won’t be up for any
Pulitzer. But if an artist’s duty is to explain the world
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Liberal
Continued from page 3
what is wrong. While extremely disi
ing and sad in many scenes, it is on
the funniest comedies by starring a
of humor, Bush. We see the U.S. ptf
dent on the golf course making threi
to terrorists and then driving on
nine. He bumbles through lines and
gets what he is supposed to be sayinj
wonderfully entertaining.
Most viewers will agree that “Fahrfi
is a well-made movie that at timesjui
off the deep end and chases some del
ends, but it is undoubtedly a movie#*
will change the way America feelsal
its leaders. Before writing this
as propaganda, see it for yourself,
comes to believability, I will
Moore presents rather than the run:
the government and media.
movie i
take the