---
title: "Spider-Man"
year: 2002
kind: "film"
canonical: "https://film.one/film/spider-man"
fi1m_id: "spider-man"
imdb_id: "tt0145487"
tmdb_id: 557
wikidata_id: "Q484442"
fi1m_score: 78
critics_score: 69
critics_reviews: 8
published: "2026-09-14"
updated: "2026-09-18T08:38:28.300389+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Spider-Man (2002)

Directed by Sam Raimi · 2h 01m · MPA PG-13 · Action, Science Fiction

## Identity

Spider-Man

- **Canonical:** https://film.one/film/spider-man
- **Type:** Film
- **Fi1m ID:** spider-man
- **IMDb ID:** tt0145487
- **TMDB ID:** 557
- **Wikidata ID:** Q484442
- **Same entity:** https://www.imdb.com/title/tt0145487/, https://www.themoviedb.org/movie/557, https://www.wikidata.org/wiki/Q484442

**Fi1m score: 78** · Critics 69 from 8 reviews

*In a sentence:* Tobey Maguire makes wearing a mask seem a waste of a perfectly good worried face

> Sam Raimi’s *Spider-Man* is a warm, funny adventure carried by Tobey Maguire’s uncertainty. The romance holds our attention even when the digital action makes danger feel oddly remote.

## Synopsis

Peter Parker (Tobey Maguire) is trying to understand what becoming Spider-Man means for a life already complicated by adolescence. His new abilities offer possibilities, but they do not remove his uncertainty about other people or his own choices. Romance enters the picture through Mary Jane Watson (Kirsten Dunst), while Norman Osborn (Willem Dafoe) has another identity of his own: the Green Goblin. James Franco plays Harry Osborn, with Cliff Robertson as Ben Parker and Rosemary Harris as May Parker. Peter must work out how to use his powers without letting his own wants decide everything.

## Review

Sam Raimi’s *Spider-Man* is a good superhero film because it takes Peter Parker’s awkwardness seriously, without treating every disappointment as a tragedy. There is pleasure in the transformation, and some selfishness in what Peter wants from it. Raimi allows both, leaving room for a hero who still has some growing up to do. The action is uneven, but the young man at its centre is worth spending an evening with.

Tobey Maguire is the main reason. He makes Peter’s sensitivity appealing without tidying away the neediness, and his embarrassment has none of the calculation of an actor asking to be found endearing. David Koepp’s screenplay gives him a useful mixture of decent impulses and self-interest, which Maguire keeps visible even when the story starts handing him larger problems. The early humour works because gaining extraordinary abilities has not made Peter any better at being comfortable with himself.

Kirsten Dunst’s Mary Jane Watson helps give the romance enough weight to compete with the superhero business. Dunst brings a directness that stops Maguire’s hesitancy becoming the only note in their scenes, and Raimi lets attraction remain awkward. We were touched by Maguire’s embarrassment in these exchanges, because his wish to be liked feels painfully ordinary. The film spends enough time on that wish for the romance to matter when the spectacle threatens to crowd everything else out.

Willem Dafoe has fewer opportunities as Norman Osborn and the Green Goblin. His relish keeps the villain watchable, but Koepp supplies a more routine threat than this particular hero deserves, and the confrontations gradually become predictable in shape. We do not need every superhero adversary to be a psychological case study; we do need the danger to become more involving as the film goes on. Raimi gets intermittent excitement from these encounters without sustaining much anxiety about them.

Don Burgess’s cinematography works best when there are faces to attend to, giving the romantic scenes a welcome lack of fuss. Neil Spisak’s production design keeps the action settings readable, though they rarely hold our attention for themselves. The digital movement is a larger problem: bodies travel through space with too little apparent weight, and impacts consequently lose their force. We can follow a collision without quite believing that it hurts. For a film so attentive to Peter’s vulnerability, that makes the fights disappointingly easy to sit through.

Editors Bob Murawski and Arthur Coburn give the early comedy a brisk rhythm, with enough breathing space for Maguire’s discomfort to register. The repeated shifts into combat are less rewarding, and the later stretches feel longer than their incidents warrant. Danny Elfman’s music supplies a firm sense of heroism, although its insistence can make the action feel more dutiful. A stronger sense of physical danger would have done more for these sequences.

As a coming-of-age adventure, *Spider-Man* understands why an uncertain young person might want extraordinary powers, and why having them would not settle everything. That gives it something worth caring about within a genre that can become impatient with ordinary feelings. The reservations matter, especially for anyone chiefly interested in the fights. Choose it for Maguire, and do not expect every battle to justify interrupting him.

*Fi1m score 78, published 14 September 2026.*

## What the critics say

Most critics find Spider-Man an entertaining, character-led comic-book adventure, with Tobey Maguire’s casting the clearest point of agreement. His vulnerability and awkward charm make Peter Parker believable, giving the superhero story an emotional centre. Praise also gathers around the romance and the treatment of adolescence, with several reviews crediting Sam Raimi for keeping the people behind the masks in view. The enthusiasm is qualified, though: even favourable notices sometimes describe the film as competent rather than inspired.

The action produces the sharpest divide. The Guardian finds the digital sequences exhilarating, while RogerEbert.com sees weightless cartoon action that lacks tension. Reservations elsewhere concern a generic villain, excessive length and a drift towards conventional spectacle; The New Yorker is particularly cool about the second half and its sequel-minded plotting. The spread runs from warm approval to mixed responses, with Maguire earning praise even from those less persuaded by the battles.

## Straight answers

**Is Spider-Man worth watching?**

*Spider-Man* is worth watching for anyone who wants a superhero film that cares more about the awkward young man than the fights, and we scored it 78. Tobey Maguire's uncertain Peter Parker and his romance with Kirsten Dunst's Mary Jane carry it. The digital action is weightless, so viewers chiefly after spectacle may feel short-changed.

**How long is Spider-Man, and what is it rated?**

*Spider-Man* runs 2h 01m and is rated PG-13 by the MPA in the US. It is an action and science fiction film.

**Where can I watch Spider-Man in the US?**

*Spider-Man* is streaming on Hulu and Disney+ in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. It leaves Hulu on 1 October. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Spider-Man, and is it suitable for children?**

*Spider-Man* is a 12A, and its violence is superhero combat rather than anything graphic: the digital fights have so little apparent weight that we rarely believed the impacts hurt. Willem Dafoe's Green Goblin brings some relish but not sustained menace. Most children over about ten should manage it; the squeamish have little to fear.

**How does Spider-Man compare to The Iron Giant?**

*Spider-Man* and [*The Iron Giant*](https://film.one/film/the-iron-giant) share a belief that strength matters chiefly when somebody needs protecting, but they are different in kind: Raimi's is a live-action coming-of-age adventure with uneven digital action, Bird's an animated friendship story that earns its feelings more consistently. *The Iron Giant* is the tighter, more affecting film; *Spider-Man* suits those who want a hero old enough to want a girlfriend.

**What should I watch after Spider-Man?**

After *Spider-Man*, try [*The Iron Giant*](https://film.one/film/the-iron-giant) (1999, Fi1m 88): For the same belief that strength matters chiefly when somebody needs protecting. Then [*Crouching Tiger, Hidden Dragon*](https://film.one/film/crouching-tiger-hidden-dragon) (2000, Fi1m 90): For airborne action with the physical conviction and romantic ache we wanted here.

### Reviews we read (13)

- **The Hollywood Reporter**, Kirk Honeycutt (80/100, inferred): The film succeeds as a comic-book adventure with a charming, relatable lead in Tobey Maguire and a director in Sam Raimi who balances spectacle and heart without excess grandeur. [Read](https://www.hollywoodreporter.com/news/general-news/spider-man-2002-movie-review-999878/)
- **The New York Times**, A. O. Scott (80/100, inferred): The filmmakers rejuvenate the character while staying faithful to his roots, with inspired casting of Tobey Maguire helping to deliver the simpler satisfactions of superhero identification. [Read](https://www.nytimes.com/2002/05/03/movies/film-review-muscles-ripple-webs-unfurl-hormones-race.html)
- **Los Angeles Times**, Kenneth Turan (75/100, inferred): Its best feature is the romance comic heart and the convincing Tobey Maguire as the most believable Spider-Man, though the villain and some action are generic and the film is only sporadically exhilarating. [Read](https://www.latimes.com/archives/la-xpm-2002-may-03-et-turan3-story.html)
- **The Guardian**, Peter Bradshaw (75/100, inferred): The critic finds the film entertaining and a good summer yarn, praising its fun, gusto, and the metaphorical qualities of the Spider-Man myth as an allegory for adolescence. They single out the digital effects for delivering exhilarating sequences while noting the costume looks seamlessly figure-hugging. [Read](https://www.theguardian.com/film/2002/jun/14/1)
- **Variety**, Todd McCarthy (70/100, inferred): It is a perfectly serviceable popcorn picture that satisfies teens and general viewers, with Tobey Maguire providing emotional openness and vulnerability as the standout element in an otherwise competent but uninspired film. [Read](https://variety.com/2002/film/awards/spider-man-3-1200550204/)
- **Slant Magazine**, Ed Gonzalez (65/100, inferred): Raimi captures the character's sensitive yet self-serving essence in a coming-of-age superhero story, though the film feels cheesy and overly long at times. [Read](https://www.slantmagazine.com/film/spider-man/)
- **RogerEbert.com**, Roger Ebert (60/100, inferred): The film excels in portraying Peter Parker as a fallible, relatable nerd but falters when Spider-Man takes over, with action sequences that feel like weightless cartoons lacking gravity or tension. [Read](https://www.rogerebert.com/reviews/spider-man-2002)
- **The New Yorker**, Anthony Lane (50/100, inferred): The film starts with good humor and Maguire is the best thing about it, but it loses interest in the second half as it shifts to conventional battles and forced plot points for sequels. [Read](https://www.newyorker.com/magazine/2002/05/13/tangled-webs-3)
- **Empire**, Ian Freer: Sam Raimi delivers a perfect melding of director and subject in a supremely entertaining take that satisfies fans and thrill-seekers alike. It holds onto characters you can root for and plotting that makes sense while delivering maximum spectacle. [Read](https://www.empireonline.com/movies/reviews/spider-man-review/)
- **Screen Daily**: Raimi delivers an efficient and entertaining film that should break box office records, though it feels like a studio package rather than a bold vision. The critic singles out Tobey Maguire's perfect casting as the conflicted Peter Parker/Spider-Man for particular praise. [Read](https://www.screendaily.com/spider-man-spider-man/409039.article)
- **Sight and Sound**, Kim Newman: The film mixes charm and spectacle in its origin story but does not quite hold together as a whole, with action sequences often devolving into cartoonish fights. Newman singles out Tobey Maguire's winning portrayal of the doofus Peter Parker for praise. [Read](http://old.bfi.org.uk/sightandsound/review/1676)
- **The Independent**: The film begins with charm and an offbeat take on Peter Parker's transformation, thanks to strong casting of Tobey Maguire and Kirsten Dunst. It loses some conviction in the later, more ambitious action sequences which feel weightless and cartoonish. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/spiderman-180092.html)
- **Total Film**: Raimi has created a faithful, pacey and witty movie that far outshines most recent franchise-launchers. Full of swinging action but with plenty of time to explore the people behind the masks. [Read](https://www.gamesradar.com/spider-man-review/)

## Details

- **Director:** Sam Raimi
- **Director:** Sam Raimi
- **Screenplay:** David Koepp
- **Cinematography:** Don Burgess
- **Editor:** Arthur Coburn, Bob Murawski
- **Music:** Danny Elfman
- **Production design:** Neil Spisak
- **Costume design:** James Acheson
- **Producer:** Ian Bryce, Laura Ziskin
- **Cast:** Tobey Maguire as Spider-Man / Peter Parker; Willem Dafoe as Green Goblin / Norman Osborn; Kirsten Dunst as Mary Jane Watson; James Franco as Harry Osborn; Cliff Robertson as Ben Parker; Rosemary Harris as May Parker; J.K. Simmons as J. Jonah Jameson; Joe Manganiello as Flash Thompson
- **Runtime:** 2h 01m
- **Certificate (MPA):** PG-13
- **Release (the US):** 3 May 2002
- **Genres:** Action, Science Fiction
- **Budget:** $139 million
- **Box office:** $822 million
- **Trailer:** https://www.youtube.com/watch?v=t06RUxPbp_c

## Where to watch in the US

- Hulu: streaming, uhd, leaving 2026-10-01
- Disney+: streaming, uhd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $14.99, uhd
- Apple TV: buy $14.99, hd

*Checked 2026-09-14.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2003: Best Sound (nominated); Best Visual Effects (nominated)

## If you liked this

- *Superman* (1978): Another superhero adventure that understands the appeal of an awkward romantic lead
- *The Rocketeer* (1991): An earnest hero, uncomplicated adventure and affection for the people beneath the costumes
- *The Girl Who Leapt Through Time* (2006): Extraordinary abilities make ordinary adolescent mistakes more complicated, with warmth and humour
- *The Iron Giant* (1999), Fi1m 88: For the same belief that strength matters chiefly when somebody needs protecting — [Fi1m page](https://film.one/film/the-iron-giant.md)
- *Crouching Tiger, Hidden Dragon* (2000), Fi1m 90: For airborne action with the physical conviction and romantic ache we wanted here — [Fi1m page](https://film.one/film/crouching-tiger-hidden-dragon.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/spider-man