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Fans cannot live on special effects alone. It is Andrew Garfield's super powers, as Peter Parker without the mask, that justify the explosions and non sequiturs that follow as soon as he puts it on.“Acting is impossible,” Andrew Garfield told me in 2011, shortly after he had been cast as Spider-Man. “Creating a performance is impossible. Creating a performance that’s good is impossible. I will never ever create a performance that’s good. I know that. I will never be able to watch myself and feel happy with what I’ve done. It’s constant striving.”

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Nothing wrong with some healthy perfectionism. And while I wouldn’t argue that playing Spider-Man demands of Garfield the same complexity that he has brought to his most nuanced work to date—his elegantly measured performance as Eduardo Saverin, the wronged and wounded co-founder of Facebook in The Social Network, and his taut, twitchy turn as a juvenile murderer all grown up in Boy A—his work in the two Amazing Spider-Man movies does go above and beyond the call of duty.(Download The Amazing Spider-Man 2) His performance is in a whole different key to the one given by Robert Downey Jr in the Iron Man trilogy: Peter Parker is a doe-eyed dope, after all, rather than a strutting id like Iron Man’s human counterpart, Tony Stark. But both engender the same feeling in the viewer: we don’t want them to disappear into the melee.As with Downey and Iron Man, the bond Garfield forges with us when he is Peter Parker is so strong and sympathetic that the movies can’t help but suffer a slump whenever the mask and the bodysuit goes back on. Every time he’s the amazing Spider-Man, the movies become that little bit less amazing.

(Download The Amazing Spider-Man 2) The least an actor needs to do in a superhero movie is to keep his or her head above water; that is, to render a performance that won’t be overwhelmed by special effects. Much of this is out of the actor’s hands. What makes the final cut is down to the director, the editor, the studio, but these are not stupid people. They know that a superhero movie in which the audience has no connection with the man or woman in the cape or the mask or the Lycra bodysuit will count for nought. Less than nought. Less than Superman IV: The Quest for Peace.Garfield and his co-stars in The Amazing Spider-Man 2—Emma Stone, who reprises her role as Gwen Stacy from the previous movie, and Dane DeHaan as Peter’s childhood friend-turned-adversary Harry—are not blockbuster veterans,(Download The Amazing Spider-Man 2) and they don’t work in the broad, hammy acting style that can be the default setting of the action genre. They contribute detailed, attentive work that just happens to be mounted on the canvas of a noisy, sprawling superhero film. Not, in itself, anything new: ever since Tim Burton’s Batman in 1989, the cleverest actors have recognised that it pays in this genre to keep your integrity, your intimacy, while all around you, everything explodes.

The disparity in scale between fine-grained acting and lumbering action is one of the intriguing elements of a movie like The Amazing Spider-Man 2. It needs its high-calibre cast (to connect with an audience that cannot survive on special effects alone, however much it might want to) but must also end up overruling precisely what makes those actors special. At some point the filmmakers have to pay the piper, which means crass action sequences comprised of escalating explosions, violent non-sequiturs and the arbitrary destruction of property, all rendered unintelligible by stroboscopic editing.Until that point, with buses and cars being tossed around Times Square like Tonka toys, there is Andrew Garfield, thank goodness.(Download The Amazing Spider-Man 2) Just as the enduring moments from The Amazing Spider-Man were small and tender and humorous—Garfield not strolling but skipping down the school corridor during a moment of romantic elation, or apologising when he accidentally starts web-slinging on a crowded subway train—so the best parts of the sequel have nothing to do with combat or confrontation.

The actorly miracles lie in his bleary, discombobulated tomfoolery when his aunt almost walks in on him in full Spider-Man costume, or the expertly choreographed slapstick when he is called upon to engineer some distraction, or his coquettish peek-a-boo from behind the branches of a tree during a heart-to-heart with Gwen.Like Johnny Depp’s intricate physical pantomimes in the Pirates of the Caribbean series, or—to take a superhero movie precedent—Gene Hackman’s withering, perpetually disappointed villainy in the first two Superman films, these are the gifts an actor gives to the audience.(Download The Amazing Spider-Man 2) It’s a trade-off. They nourish us through the long sequences of bone-headed bluster and shallow spectacle. Given that Marc Webb’s Amazing Spider-Man sequel is a reprint of a reprint, it was somewhat inevitable that its genetics would be marked with similarities: there is something of Watchmen in there (a near-identical visual proximity at one point), something of Batman, and lots of the Spider-Man source, but there’s also a caveat. There’s also a similarity with Sam Raimi’s Spider-Man 3 – an unwanted one, and perhaps an unfair one, since it was expected long before the film was ever screen – in that there are just too many villains.

But then, that is far from the fatal mistake that it has long been heralded as. At times Webb’s sequel is uproariously fun, with a squirming youthful spirit that sometimes overspills into pulling down a villain’s pants or throw-away lines of dialogue that feel like Joel Schumacher might have rejected them. And there are enough fan-baiting reference points and flourishes to keep even the most hardy of Spider-Man fans enthralled.Picking up from the first redo, this superhero caper is about a lot more than dastardly villains and high-swinging action; the journey is as much about teenage self-realisation (the most enduring buzzwords in the genre right now)(Download The Amazing Spider-Man 2) and about finding the right work/life balance. All of those elements are embodied in Peter Parker’s relationship with Gwen Stacy, who is authentically irresistible enough to explain Peter’s defiance of the very real, very disapproving ghost of her father.As Stacy Emma Stone is typically spell-binding, offering a well-rounded, not-damsel-in-distress heroine whose own decisions are as important to her fate as Parker’s. Opposite her, Andrew Garfield continues to prove why he was chosen to follow in Toby Maguire’s gawky shoes, carrying off both the not-quite-fully-cooked-yet teenager and the quip-spitting, disarmingly charming rogue behind the mask with the same aplomb.

There are problems in the make-up that cannot be ignored however. The decision to rebalance the origin story might have added some new intrigue for a new Spider-Man, but was it really worth the cost to Uncle Ben, who figuratively and literally ends up being boxed away almost entirely? And despite some of the hokey elements (the reappearance of Captain Stacy, the dramatic near-miss) actually working, there are some, like the eel that pauses to look down the camera lens mid-frenzied attack,(Download The Amazing Spider-Man 2) or the excited stumbling writing that don’t work quite so well.The problem seems to be Marc Webb’s enthusiasm: he wanted to make a spectacle, but he has cut so many corners that there are big things in there that have absolutely no precedent at all, like Electro suddenly learning new powers as it suits him, or Harry Osborn’s incredible transformation from model-wooing awkward playboy to ass-kicking action hero. There’s also too much reactionary writing – a problem also with Man Of Steel – where it feels like the director is skipping steps to get to the exciting bits.

And there’s also a slight whiff of over-egging: had the film not gone the couple of extra steps in looking for cheap thrills it would have been very good, but the lack of restraint is telling, and the over-riding feeling is that Webb wanted to be all things to all audience members. So we’re left with a film that starts with a pantomime pants down that the kids will love, and ends with a harrowing,(Download The Amazing Spider-Man 2) morbid sequence that is almost lovingly crafted that will haunt their dreams for a long time.At times the film is a lot better than the over-riding score might suggest; the sequence that establishes Electro’s hatred of Spider-Man is a great set piece, and the climactic battle between the two is also a high-point (aside from a silly musical joke). But there are two many problematic moments to gloss over, which might have been significantly easier if Webb hadn’t book-ended the film’s action with one of the genre’s worst performances in Paul Giamatti’s Aleksei Sytsevich.

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Giamatti should probably be ashamed of his over-blown, messy performance, and it is a shame that it is his involvement that will attract the inevitable accusations that too many crooks spoiled the spider-broth when both Jamie Foxx and Dane DeHaan’s performances were comparatively so successful.In the end, the film sets up more Spidey films well, with a raft of characters who will become something more substantial – even those like Felicia Hardy,(Watch The Amazing Spider-Man 2 Online in High Quality) or Alistair Smythe who are incidental here, but who will prick up the ears of Spider-Man fans, which is not to mention the seemingly limitless Sinister Six hints.Let’s just hope that the next time we meet Garfield’s Spider-Man, Marc Webb has learned a little more restraint so his obvious passion for the project manifests itself without the sloppy mistakes that at times threaten to derail The Amazing Spider-Man 2, which is still the third best of the five Spider-Man films released to date.

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