For that matter I like 300 alot too.

I agree that Daredevil and a bunch of the others you mentioned suck. But c’mon his superpower was that he was blind.

I don’t think I’ve ever seen ANY movie where I didn’t have problems with something, well maybe Finding Nemo was perfect.

I am just glad they are making super hero movies of any sort. Some of them I’ll love, some I’ll like and some I’ll dislike.

BTW, for those interested, the black costume IS an alien parasite accidentally freed by Spidey on the Beyonder’s constructed world at the edge of the universe in Secret Wars #7. He wore it for a long time until the public uproar (and plummeting sales) caused comic writers to change it back. They worked up the whole plotline about the suit becoming evil (from rejection) and then developed Venom, which later led to Carnage, several clones of Peter Parker, etc….

The same problems cropped up in X-Men. You can’t start a story in the middle and expect to use elements of a story without background and still please an audience. I would rather have them come up with their own hero concepts than use established heroes and muck everything up!

Ever since Blade, I’ve been pretty happy to see superheroes getting the star treatment. Telling, retelling, and reformulating hero origins is something of a recurring event in comics so when the movie deviates from the continuity, I try not to sweat it too much and focus on what excites me about comic book characters.

Unfortunately, the Hollywood machine has little respect for storytelling. Once they have a hit, they won’t stop beating the formula to death, through undeath, and beyond. For many comic book heroes there are several types of stories that work very well but we rarely see more than the one in which they are introduced.

With Spider-man, Sam Raimi has at least managed to make the trilogy feel like the one continuous journey of self discovery as Peter Parker grows out of his awkward adolecense into manhood and heroics. Considering that Sony pays the bills and the usual trend with Hollywood, I think he deserves some praise for holding it together as well as he has!

Excerpt form an NPR review:

http://www.npr.org/templates/story/story.php?storyId=9983240

As anyone who’s heard anything about Spider-Man 3 knows, Peter Parker’s bright-red spider-suit eventually turns a dazzling black as his character gives in to his dark side. But rather than take the adventurous route of having a superhero suffer a legitimate nervous breakdown, the movie opts to lay it all at the feet of some nasty substance from outer space.

Though aspects of it are entertaining, Spider-Man 3 has an ungainly, cumbersome feeling, as though its plot elements came from competing contractors who didn’t see the need to cooperate on a coherent final product. “We always have a choice,” Peter Parker says at one point in the film. Here’s hoping that the choice about whether to make a fourth Spider-Man will be based on more than the almighty bottom line.

-The Emperor

Let me put out another theory here. The difference between “suck” and “no suck” on these types of comic book movies has everything to do with SCRIPT. Get the story right, dumbasses, and everything else (acting, special effects, hot babes, etc.) will fall into place. The problem with your Spiderman 3 and/or your X-Men 3 is that the studio is trying to do too much with the effects, packing in too many characters, and eventually the story becomes a messy jumble of ideas without a clear arc for developing the main characters. When the audience finds the right reasons to empathize with the characters, to CARE about the characters, that’s when you have a decent, memorable film (_Batman Begins_ and the first two Spidey movies could be credited with doing at least a better/ passable job in the script department).