What still surprises me about Spider-Man (2002) is how much

What still surprises me about Spider-Man (2002) is how much of today’s superhero language came from its sincerity, not its scale. The “ordinary person with impossible responsibility” template is everywhere now — even in smaller creator-driven genre stuff — but Raimi’s version still feels unusually handmade, like a comic book filtered through horror-movie energy and actual romantic longing instead of franchise math.