However, The Amazing Spider-Man also sent a signal out into Hollywood. In broader culture, they are perhaps most notable for providing raw material that Spider-Man: No Way Home could repurpose into nostalgia. In fan circles, the Amazing Spider-Man movies were largely seen as films in need of redemption. It earned a respectable $757M at the global box office, which was less than Sam Raimi’s Spider-Man 3 five years earlier or any of Jon Watts’ three solo Spider-Man movies that would follow. Its reviews were solid rather than exceptional. It certainly isn’t a defining cinematic adaptation of its title character. The Amazing Spider-Man is not a particularly good film.
It would end up being quietly revolutionary in its own way. However, there was a somewhat smaller blockbuster that summer. The two films finished in the top two positions at the domestic box office. The Dark Knight Rises was an elegiac conclusion to a sprawling auteur-driven trilogy, while The Avengers was just the starting pistol on the Marvel Cinematic Universe. In many ways, it was a restaging of the box office showdown between The Dark Knight and Iron Man four years earlier. The big battle of 2012 was fought between Christopher Nolan’s The Dark Knight Rises and Joss Whedon’s The Avengers. In contrast, the big names dominated the following summer. Movies like Green Lantern, Thor, Captain America: The First Avenger, and The Green Hornet were built around properties that were at the time seen as secondary at best.
The previous year had demonstrated that superheroes were a permanent feature of the blockbuster landscape, even superheroes with no name recognition or from smaller publishers.
The summer of 2012 was a big moment in the history of blockbuster cinema.
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