The first half of the new version of Spider-Man—The Amazing Spider-Man (2012)–is quite captivating and even disturbing as it tells of Peter Parker’s becoming the titular hero and his fighting the Big Mutant.  But the second half is clunky and somewhat boring.  Why, I have to ask, is Gwen Stacy’s policeman father such a fool?  He obviously thinks he can take on the Big Mutant without Spider-Man’s help.  (He can’t.)

Andrew Garfield is fine as Spider-Man.  So is Emma Stone as Gwen, and although the role is underwritten, Gwen is plainly both a strong female and a romantic.  In a pleasing scene, Peter Parker hesitantly begins to tell the girl about the astonishing spider bite he recently received.  “I’ve been bitten,” he murmurs.  “So have I,” Gwen replies, looking softly at Peter.

But a lot of not-so-pleasing stuff is here too.  I actually consider Sam Raimi’s Spider-Man (2002), insipid as it occasionally is, a somewhat better entertainment.

The Amazing Spider-Man #121: "The Night Gwen Stacy Died". Cover art by John Romita Sr. (Photo credit: Wikipedia)

I have no use for Oliver Stone’s wrongheaded movies, and not surprisingly his latest, Savages (2012), is more interesting than truly good.  It is very interesting, though, in my view; an intriguing drug-cartel drama.  For the most part it is poorly written–forget the film’s dumb suggestion that there are “beautiful savages” here–but it’s dramatically sobering and visually seductive nonetheless.  Or at least it’s visually seductive when it avoids Stone’s filmic pretentiousness; it is Don Mindel’s fine cinematography with its seaside colors that gives the movie its look.

Histrionically Benicio Del Toro (as a drug-trade bully), Salma Hayek (as the Baja cartel leader) and John Travolta (as a corrupt cop) carry the film.  Taylor Kitsch and Blake Lively do not.  Travolta gives it all he’s got, with acting that’s tough-fibered and unself-conscious.  Hayek is pleasantly solemn.

David Thomson, on the Internet, is right:  Savages is trashy, and not because Kitsch bares his bottom.  It’s quite a sensationalistic stew.  Even so, Thomson accepts the film and so do I.  Reluctantly.

Taylor Kitsch (Photo credit: Eva Rinaldi Celebrity and Live Music Photographer)

1963’s Seduced and Abandoned, which received a Big Apple showing in 2007, was said by someone at New York magazine to make Judd Apatow’s film, Knocked Up, look tame by comparison.  That it does, and like Knocked Up, Pietro Germi’s Italian gem concerns a non-slutty female who gets pregnant outside marriage.

An adroit Stefania Sandrella stars as Agnese, the seduced and abandoned one, a Sicilian girl of 16 defiled by her sister’s fiance, Peppino (Aldo Puglisi).  It’s statutory rape, even though Agnese’s father, Don Vincenzo Ascalone (an outstanding Saro Urzi) gets furious with both Peppino and Agnese.  As puny as a worm, Peppino refuses to marry the violated girl because now she is no longer a virgin!  It’s a matter of honor.

Acridly, hilariously satirical, Seduced exposes Honor pursued and safeguarded in the face of, and regardless of, utter hypocrisy.  Superficiality prevails, while that which is DIShonorable keeps coming to the fore (Peppino’s finally agreeing to marry Agnese just to stay out of jail, Don Vincenzo’s plan to murder Peppino).  What Germi’s movie displays is a healthy old-style liberalism, albeit one with a limited but genuine respect for such institutions as the Catholic church and the judicial system.  No love for anarchy here.  It’s just a daring dark comedy, one of the finest I’ve seen.

(The film is in Italian with English subtitles.)

Cover via Amazon

Is Canadian Idol as rotten as American Idol?  Don’t know, but one of the past contestants on the Canadian version, Carly Rae Jepsen, was handed a great pop song in 2011.  It’s the energetic “Call Me Maybe,” which opens with–a pizzicato?–before providing very simple synthesizer-strings for the chorus and delivering its “love” lyric.

‘Hey, I just met you / And this is crazy,” Carly Rae sings and, to be sure, the song is not entirely positive or affirmative.  It hints that perhaps the girl would be better off if she were more acquainted with Mr. Ripped Jeans.  “Call me, MAYBE” is the directive.  The tune is quite cheery, sure, but small wonder it grinds to an unusual halt.

Of course “Call Me Maybe” is not great in the way that, say, Jewel’s “Foolish Games” or Sheryl Crow’s “My Favorite Mistake” is great.  Along with being more sophisticated, these songs are affecting.  “Foolish Games” is a piano-dominated lament with a superb climax, perfect for Jewel’s voice.  “My Favorite Mistake” offers a mean, creaky guitar and a solemn vocal.  Here and there the words are rather weak, but the music isn’t–and, like the Jewel number, it’s movingly sung.  There is higher merit here than in Jepsen’s ditty, but hooray for all three songs.  They’re entertaining.

Though something more than a commercial Hollywood film, People Like Us (2012) is flatly unsatisfactory.  I found it hard to swallow nearly everything that goes on in it, as when a deceased father leaves his neglectful, irresponsible son a boatload of money to turn over to the half-sister he has never met.  True, the picture is moving, but it’s ultimately sentimental as well.