Each and every year, as the age of cinema increases, so does the skepticism of the art forms relevance and focus. Ever since doing a “Best of” list to showcase the best that cinema has to offer each and every year, there is always someone or a group of people declaring that the end of cinema; its ultimate demise, is upon us. Yet, this year, moreso, than any other year, phrases such as “profoundly moving”, “the reason we go to the movies”, and “historical achievement” are just some of the many phrases thrown around to more than one of the films released in 2016.
“America doesn’t bail out losers. America bails out winners.” How is that for an American dream motto? This axiom, among many others presented in the film, is the foundation as the blood-splattered frames of Ramin Bahrani’s latest offering begin to roll.
“In the past 25 years I have probably seen 10,000 movies and reviewed 6,000 of them. I have forgotten most of them, I hope, but I remember those worth remembering, and they are all on the same shelf in my mind”. –Roger Ebert.
If the new Spider-Man could represent one thing, it would be hope; hope that Sony can deliver as Disney and Paramount Pictures have with its Marvel mammoth The Avengers cannon; hope that their reboot is a successful and advancing platform towards a very large and lucratively sinister franchise future; and hope that will restore faith in the amazingness in its highly popular comic book wall-crawling character after a trilogy not too long ago.