Superman and Batman (whose composer Danny Elfman provides an evocative score), and its nostalgia for New York is poignant (more of this later.) It also has one of the sexiest screen kisses in cinema history.
At the turn of the 21st century, there had been much mooted plans (as there usually are with most comic strip films nowadays) to make a new film version of the popular Spider-Man series. Up until then the character had been half-heartedly adapted for American television (and perhaps more entertainingly in a cartoon series with a catchy theme in the 1960's), but with the release in the 1970's of Superman followed a decade later by Batman, it was probably only a matter of time before Marvel's counterpart to these two icons spun his way onto the big screen proper.
Raimi's own enthusiasm for the original comic books helped a great deal, and his cast were near-perfect: Tobey Maguire, already an established name from acclaimed films such as Wonder Boys and The Cider House Rules, pipped contenders such as Jake Gyllenhaal for the coveted title role, and brought as fine a definition of Peter Parker as Mark Hamill brought to Luke Skywalker and Cheristopher Reeve brought to Superman. Kirsten Dunset was another "young veteran" (playing a centuries old vampire opposite Tom Cruise at the age of 12), with the perfect girl next door persona to play Mary-Jane Watson. Added to them on the other side of the coin were Willem Dafoe as egomaniac villain Norman Osborne (aka. The Green Goblin), and James Franco as his son Harry, one of the best of the new generation of young actors. If Dafoe overplays a little (though not quite in the Jack Nicholson mode), both he and Dunst are ultimately constricted by their roles.
The rest of the cast were also exemplary, borrowing heavily from Superman in style with J.K. Simmons' hack newspaper editor echoing Perry White, and Rosemary Harris and Cliff Robertson playing Peter's aunt and uncle with all the integrity of Ma and Pa Kent. To add the fun, Raimi brought in his Evil Dead star Bruce Campbell to play a bit part (who announces the title character's name for the first time.) Even co-creator of the comics himself, Stan Lee, makes an appearance (his first of many in the Marvel series).
The impact of the atrocity nonetheless, and the spirit of the city that emerged through it, are imbued throughout Spiderman, such as the moving scene where firemen (who so valiantly laid down their lives for others on September 11th) try to rescue a child from an apartment block where Spidey helps out. Raimi and his collaborators developed this theme further in SPIDER-MAN 2, where a speeding subway train propelled by the evil Dr. Octopus (an excellent Alfred Molina) is stopped in its tracks by the wounded young hero, for whom the New Yorkers inside the train gratefully carry him above them Christ-like having just survived the ordeal. Spider-Man 2 was an accomplished and in some ways improved sequel, that developed the ideas of the first film and also complimented them in a similar vein to The Empire Strikes Back.
Less so for Spider-Man 3 however, a nonetheless honourable effort, but for whom the studio insisted that Raimi include a third, unnecessary villain (in addition to the Sandman and the now ascendant Green Goblin Harry Osborne) in the shape of Venom, the most popular villain from the comics. For this reason as much as any other, inexplicably within a very short space of time Columbia chose to "reboot" Spiderman all over again, with a new director, new stars, and presumably newer, "better" CGI - when in truth the story had been pretty well covered the first time.
Spider-Man however. Other revisionist comic book films have since been made trying to incorporate modern war-on-terror anxieties, but posterity will remember Sam Raimi's heartening rendition for putting all (or most) of the right ingredients together, and for providing an invaluable record of the zeitgeist of - yes, I'll say it - 9/11.