There's no rest for the arachnid as Tobey Maguire's Spider-Man tries to rid New York of Alfred Molina's eight-armed madman Doctor Octopus. To add to his problems, poor old Peter Parker is still having issues with his sweetheart Mary-Jane (Kirsten Dunst). Yet again, director Sam Raimi spins an inescapable web of eye-popping, Oscar-winning SFX, heart-stopping drama and superguy-meets-girl romance. Best sequel ever made? Forget about it. Best comic book movie ever made - that's closer to the mark.
The vast strides in the art of special effects prompted film-makers to make celluloid flesh the heroes of comic books from Batman to the obscure Hellboy.
But somewhere along the way, the computers deleted the virtues of a good, old-fashioned story well told and overwhelmed them with a barrage of sfx.
Thankfully, Sam Raimi's original Spider-Man pulled back from the mainframe-generated morass and this triumphant sequel delivers the perfect match of plot and pyrotechnics.
Peter Parker aka Spider-Man (Maguire) is overburdened by his calling as public protector and is staggering towards burn-out.
His college work is suffering, he can't hold down a job and he cannot declare his love for Mary Jane Watson (Dunst) because he fears his enemies will put her life in danger.
Torn between "the gift and the curse" - his duty to the citizens of city - and the pull of his heartstrings, it's decision time.
And just to make things worse, there's a new adversary on the street - Alfred Molina's multi-tentacled scientist-turned-crimmo, Doc Ock.
Working equally well as a riveting drama and an adrenalin-fuelled action caper, Raimi effortlessly juggles the two in a rip-roaring juggernaut bursting with heart and sinew.
Few superhero capers have featured acting as subtly nuanced as Maguire's doubt-ridden crusader or Dunst's perpetually let-down young love.
There's also sharp humour, mainly thanks to the return of acid-tongued newspaper editor J Jonah Jameson (JK Simmons).
In a stunning display of directorial plate spinning, it's a perfectly balanced package with all the constituent parts complementing one another.
Used wisely and sparingly, the action setpieces - particularly a stunning stunt involving a runaway train - guarantee jaws will be dropped.
Raimi makes no such mistakes - it's superheroic film-making and the genre daddy against which everything else will be measured.