10 Best Spider-Man 2 Moments
5. Horror Hospital
After a disastrous demonstration of his fusion reactor experiment, an unconscious Otto Octavius is taken to hospital to have his four mechanical arms (which are welded to his body) removed. However, when the surgeons begin, the arms come to life, ruthlessly picking the surgeons off one by one, all the while Otto Octavius is unaware of the carnage ensuing around him.
Director Sam Raimi is known for his background in horror films, most notably the cult-classic Evil Dead Trilogy (1981-1993). Despite moving to a mainstream superhero franchise, Raimi uses the hospital scene to remind fans of what he is capable of. This moment is a shining example of how to make a convincing, gripping, and relentless horror scene. Above all, the scene relies on atmosphere, as well as kinetic but calculated framing, editing, and camerawork. The lack of music amplifies the doctors’ harrowing reactions, with the brutality of the mechanical arms establishing Doc Ock as a formidable threat.
Sam Raimi’s ability to incorporate an unnerving horror moment into an otherwise family-friendly blockbuster is fascinating. While it crucially establishes how dangerous Doc Ock is, it also begins framing Otto Octavius as a tragic figure who needs saving from his own creation.
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4. Spider-Man No More
After repeatedly failing to balance his life as ordinary Peter Parker and a wall-crawling superhero, Peter reaches a breaking point. His spider-powers are continuing to fail and, more importantly, continuing to be Spider-Man is making him miserable. So, after some self-reflection in a dream sequence with Uncle Ben, he decides to quit being a superhero.
Peter’s desire for a normal life is soul-crushing, and the dream sequence shows him at his most vulnerable. Furthermore, having it mimic the car scene from the first film adds to Peter’s guilt, foreshadowing his confession to Aunt May later in the film. Peter’s internal conflict is powerful too: he wants a life of his own yet feels terrible for going against Uncle Ben’s words. It makes for an emotionally raw and relatable sequence overall.
The Spider-Man No More scene is more than just an explicit homage to the 1967 comic book. It encompasses the film’s theme of responsibility and how it continues to chip away at Peter’s life and wellbeing. It is a mature and emotional scene unlike anything else in the superhero genre, wherein Peter chooses to give up being Spider-Man.
3. He’s Back!
Having regained his spider-powers, Spider-Man discreetly stops by the Daily Bugle to reclaim his iconic red and blue suit – much to the annoyance of J. Jonah Jameson (J.K. Simmons) – before swinging to the nearby clock tower for a climactic confrontation with Doc Ock.
This is one of the film’s most exhilarating and triumphant moments. Thematically, the film is about Peter Parker’s struggle to balance his responsibilities, and this scene is the uplifting pay-off to his challenging arc.
It also marks a return to a familiar status quo. Firstly, the scene begins with Jameson expressing his regrets over driving Spider-Man away, which feels equally heartfelt and strange. When Peter steals the suit back, Jameson returns to his old bombastic and boisterous self by declaring Spider-Man “a menace to the entire city!” While the scene adds nuance to Jameson’s character, it also demonstrates Sam Raimi’s unique sense of humour. Whether it is Jameson immediately taking back his declaration that “Spider-Man was a hero,” Simmons’ over-the-top performance, Hoffman’s (Ted Raimi) brief and amusing comment, or the sly note Peter left in the suit’s place, the scene is packed with Raimi’s witty comedic charm.
Following this, the scene incorporates a quirky newspaper transition, where Spider-Man bursts through a cover boldly announcing, “He’s Back: Masked Menace Returns!” The front-page spinning into frame is a charming stylistic choice that feels like a comic book brought to life, although it also reinforces a cathartic return to familiarity. This leads directly into a graceful swinging scene, accompanied by Danny Elfman’s powerfully swelling score. The music readies you for an imminent dramatic showdown, adding to the rising tension. Finally, there is another creative transition, where the camera pulls away from Spider-Man to reveal his reflection in Doc Ock’s sunglasses, which Raimi uses to memorably and seamlessly reintroduce the villain.
Through a combination of humour and heart, Raimi’s signature auteur style, and stunning technical feats, this moment wondrously conveys the return of Spider-Man. It is a brief but thrilling sequence that precedes the film’s iconic train scene.
