When THE AMAZING SPIDER-MAN was first announced, I was one of the bigger sympathizers, and most open-minded among the blogosphere, thanks mostly to the impeccable casting and interesting choice of Marc Webb as the director.

I loved THE AMAZING SPIDER-MAN, though it wasn’t as fresh and exhilarating a movie as it could’ve been, merely because it existed in a post-Raimi trilogy world. We didn’t need another origin movie…even if this one may have been better, or at least found the greatest Peter Parker and Gwen Stacy they could’ve possibly found.

But from the moment THE AMAZING SPIDER-MAN 2 started being put together, with a spoiler filled ad campaign pronouncing a cavalcade of villains, a SINISTER SIX movie/franchise, it was like Sony and Marc Webb hadn’t learned from the past, and I became bored/disinterested/unenthused with the movie the more we found out, and the closer we came to the release date.

SPIDER-MAN 3 was trash, a mess, one of the worst big budget comic book movies in a sea full of them. It ruined almost all of the goodwill that Raimi had made before, with two of the very best comic book movies the genre had to offer, before Marvel Studios came and rewrote the handbook.

So, it appeared they were going to repeat the same mistakes, throwing Electro, Harry Osborn, Norman Osborn, Dr. Kafka, Felicia Hardy, Rhino, Alistair Smythe and a billion other references/characters.

We love our Easter Eggs…but the impact they have become muted, or lost, when the whole movie feels like one.

Yet, somehow, someway THE AMAZING SPIDER-MAN wasn’t a bad movie. The action was thrilling, lush, vibrant, as comic-booky as it gets, with the best web-slinging and wise cracks that Spidey has committed to celluloid. The “New York as a character” shtick that has become weaved into Spidey’s DNA as much as the radioactive spider that created it all, didn’t feel as tacky and forced as the first film, and was still moving and effective.

I hated Paul Giamatti’s Rhino, a mind-numbingly over-the-top caricature…but the more I think about it, that was exactly the point, and he was undeniably an effective bookend, even if the Rhino armor made me want me to drink all of the poison this world has to offer.

There was too much going on. They rushed the Green Goblin story like CRAZY, and if they hadn’t found a brilliant Dane DeHaan who nailed Harry Osborn, and made us almost feel for such a prick, it would’ve been a complete disaster. Even so, he went from not dying to dying in a 0 to 60, kinda normal teenager to villainous freak the SECOND the disease manifests (the timeline of the disease made no sense, but whatever).

Jamie Foxx’s Electro was interesting. I liked that Max Dillon was nuts before he even got powers (instead of being made insane by his powers like every other villain), and his weird infatuation with Spider-Man. I dug how bizarre it all was. It’s a shame he mostly looked like ridiculous CGI (and bright blue)…though I loved when he was pure electrical energy (why would he ever revert back/be vulnerable?). But once he got his power, he was one-dimensional.

The Richard/May Parker conspiracy stuff is BS/lame/like every “mysterious past” story you’ve ever seen, complete with the subway lair. I almost thought Peter had stumbled upon the Ninja Turtles base. The whole thing was unnecessary. Peter’s parents being embroiled in Oscorp, the catch-all, meteor rocks of this universe, just wreaks of over-complication (like this entire movie), and all it really accomplishes is kicks Ben Parker’s sacrifice to the side.

The film would’ve been a disaster, merely a CGI-riddled spectacle, if not for the film’s heart being in the right place, and for Peter Parker and Gwen Stacy.

Marc Webb gets relationships, and if THE AMAZING SPIDER-MAN 2 was just PETER & GWEN (or GWEN & PETER), it might’ve been one of my favorite movies ever. They’re perfect together, the chemistry is so crackling that not only am I surprised they’re both not orgasming continuously on set, that I wonder how many people in the audience are getting off on it. Andrew Garfield and Emma Stone…make me so wet, hot and jazzed about humanity.

Yet you knew it has a tragic end (I loved Denis Leary’s Captain Stacy literally haunting Peter throughout), whether you had it spoiled for you or not. There was no avoiding it. If you read the comics or not, it seemed pretty obvious from the start. Gwen Stacy has to die (or does she? That’s opening a whole other can of worms; but I sometimes wonder if Webb and Sony didn’t take advantage of this reboot fully; why not have Aunt May die in Part 1, and MJ the sacrificial character? Try something new. Of course, that’s also sacrilege).

This knowledge, somehow, didn’t subtract or lessen the impact from the story. In many ways, it made it harder, more impactful, more tragic. You KNOW Peter is going to endanger Gwen (but in reality, she endangers herself, thankfully), and she’s going to die, though you don’t really know how, or when. And I think Webb and company treated the whole thing tastefully, perfectly. I loved that Peter was going to follow Gwen to London, and the idea of Spidey traveling around London searching for Jack the Ripper, sounded like the greatest movie ever. But…it wasn’t meant to be…making it all the more heartbreaking.

There has never been a better “love interest” in a superhero movie than Emma Stone’s Gwen Stacy. She doesn’t even deserve that term, she transcended it. She wasn’t a damsel in distress, a flat character there to be saved or smooched, like Kirsten Dunst’s MJ or Jane Foster or Pepper Potts (until a brief “Rescue” stint) or practically ALL of the women in superhero movies. Gwen wasn’t a stereotype. She stood on her own two feet, and was just the best.

Subtracting Gwen Stacy from the proceedings doesn’t exactly make me excited for the sequels, since she and Peter were most of what make the franchise worth watching, or rebooting.

For that reason, and the fact that the villains were arguably the worst parts of this film (outside of the Parker Mythos), the film left me with a sense of foreboding.

Sony’s plan, to utilize Spider-Man’s incredible rogues gallery, and give them the focus, was a unique, and certainly an inspired take. Or could be. But judging from what we’ve seen here…where every villain is a rushed cliche, will we want to see a movie starring a bunch of them? A villainous, evil Avengers-like POV could be awesome, but I’m not very optimistic based on the evidence we’ve gathered so far.

What will THE AMAZING SPIDER-MAN 3 and 4 look like, and will I care? I already feel exhausted, thanks to a quick reboot, and the promise of a new Spidey-centric movie every year. But the third one won’t have what works/worked so beautifully about these first two movies: Emma Stone’s Gwen Stacy, and the relationship between Peter and Gwen. It was beautiful, and throwing Mary Jane or Felicia into the mix to replace Gwen could prove disastrous.

Of course…I actually think it could be the biggest opportunity in the movies to come. As I said, Marc Webb thrives with the human element, with Peter Parker, and showing him grieve, and wrestle with the terrifying prospect of potentially moving on from Gwen, or even allowing himself happiness, could be fascinating. It’s how we as the viewers will also feel, when Mary Jane comes on screen for the first time (cutting Shailene Woodley from the film was a rare show of restraint in the sequel, and THANK GOD they chose to do that; it would’ve been distracting, or worse, tasteless), we’re going to be just as apprehensive as Peter is, or just as mad/betrayed if he finds her attractive/bewitching. Chemistry is going to be a huge determining factor of whether or not it can succeed. Gwen was Peter’s soulmate, or at least that’s how we feel. How does one move on from that? It’s a complex and difficult question to answer for any movie, let alone a superhero movie where Mysterio, Kraven the Hunter, Venom, Doc Ock, Carnage, Shocker, the Enforcers, Chameleon, etc. are probably bumming around New York.

Unfortunately, it’ll likely be lost/hindered in that tangle of Sinister Six-ness, as Sony tries to introduce EVERY villain imaginable in one movie, so they can get Sinister Six off the ground. Because there’s no reason for Sony to muck with the formula.

Despite mixed reviews, 5 movies in 12 years, the audiences certainly aren’t showing the same fatigue that I am. THE AMAZING SPIDER-MAN 2’s sterling opening weekend box office (and incredible overseas haul to this point), will indicate to Sony and other studios, that this kind of overstuffed sequel is what the audiences want and crave. I’m not without blame. I knew what I was getting into…and paid $19.50 to see the film in 3-D IMAX on a Friday night. So maybe it is what the average (dumb) moviegoer wants and deserves, but there’s potential for more, and that’s why THE AMAZING SPIDER-MAN 2 will be eternally frustrating.

It’s up in the air on whether it was Sony’s new formula, a harbinger of what’s to come, which means we should start the clock for when the enchilada collapses in on itself, and another reboot is necessary, because you know Spider-Man isn’t going anywhere.

Thanks to a few Hollywood screeners, a lot of gift cards and unemploymentmy independent nature, I’ve never watched more Oscar nominated films than this year (and I’ll pretend that matters). In this age of scrutiny, controversy and Twitter, every movie has been hated on, drug through the mud or found wanting (some more deservedly than others). In fact, each movie’s director, producers, stars, and DP’s all likely feel (DP’d) a lot like Rufus Sewell’s character at the end of (best movie of all-time contender) A KNIGHT’S TALE right now:

But for a few minutes, can we check our attitudes at the door, pump the brakes on our eternal desire to make callous judgments without knowing what the fuck we’re talking about, and just talk about the movies themselves? Can we be a mindless drone in THE LEGO MOVIE (here’s one prediction: Best Animated Film winner, 2015) and accept that everything is indeed, awesome, and relish in the fact that this was one of the best years for films in recent memory (says someone every year), and dig that people get so heated up about movies? Sit back, pop open the Andre, and I promise, I won’t say awesome again for the entirety of this post.

BEST SUPPORTING ACTRESS:

5. Julia Roberts, AUGUST: OSAGE COUNTY: I almost feel bad for Julia (and her painfully obvious crowns in that awesome photo), and every other incredible actor (Meryl Streep, Chris Cooper, Ewan MacGregor, Benedict Cumberbatch, Sam Shepard, Margo Martindale, Abigail Breslin and whatever Juliette Lewis is) that somehow got roped into the hate-filled, manipulative, WHO’S AFRAID OF VIRGINIA WOOLF? wannabe that is AUGUST: somewhere in Oklahoma. But then I remember how unfortunate a movie-going experience the film was, and I can’t help but be mad at them. Julia Roberts was probably the best of the bunch in a role that potentially foreshadows the next act of her career in movies (should she choose to accept it) as a real, approachable, tortured (but no less pretty) woman, finding herself back where she started (after the OCEANS movies, preggers and EAT PRAY YUCK), as the every-woman.

4. Sally Hawkins, BLUE JASMINE: The next four are fairly interchangeable (because they’re all terrific), but I’ll snub Sally Hawkins just like Cate Blanchett’s Jasmine continually snubs Hawkins’ Ginger. BLUE JASMINE is an unholy cocktail of a bunch of awful people (kinda like AUGUST and nigh every other movie that came out this year), and while Ginger screws up just as often as any of them, and you’re constantly wondering why she puts up with the mess that is Jasmine, overbearing bf Chili (Bobby Canavale, future Oscar winner in 2018) and how she keeps kids, boyfriends and a working class job together, but you never doubt how real this character is. It could’ve been a caricature, but instead, she’s heartbreaking. When Louis C.K. even treats you like shit, it’s time for a good cry.

3. June Squibb, NEBRASKA: I love June Squibb to death in Alexander Payne’s underrated NEBRASKA. Squibb is hilarious as the cranky, tough-as-hell firecracker of an 80 year old housewife, and the idea that the scene where she flashes her knickers at former would-be flames at the cemetery could be HER Oscar clip is proof that the world rules in some respect. But, the thing is, any 84 year old woman supplied with her lines would get buzz because of how startling and refreshing an image it is to see on screen. But June’s charisma and scene stealing presence is all her own.

2. Lupita Nyong’o, 12 YEARS A SLAVE: And now I regret doing rankings entirely, because things like this will happen, where I automatically become an asshole. Probably one of the cooler stories that is impossible to get tired of is Lupita Nyong’o’s casting and how she got discovered for Patsey. She was absolutely fearless and mined new depths of sorrow, and like the movie as a whole, makes you want to kill yourself. For art.

1. Jennifer Lawrence, AMERICAN HUSTLE: You either loved or hated or didn’t get AMERICAN HUSTLE, but anyone who saw it HAD to be in awe of whatever the fuck J-Law was doing on screen. In my textual fellatio/review for PopInsomniacs, this is what I said about her performance as the lunatic Rosalyn:

“Jennifer Lawrence breaks acting. She summons new depths of sheer insanity…she’s manipulative, sexy, unpredictable, dangerously naive and stupid. I found myself giggling with glee at each of her scenes, or the opposite: just speechless and giddy with her surely Oscar nominated performance. The only thing scarier than her character is how talented this woman is, and she’s still just 23 years old. Watch her song-and-dance routine to Paul McCartney’s “Live and Let Die” and try to keep your head from exploding.”

Without question, watching her performance was the most fun I had a movie theater in 2013, and sometimes, I like enjoying myself at the movies.

NEXT: Best Supporting Actor, ranked in order of attractiveness.