Any fears that this second sequel in the phenomenally successful “Spider-Man” franchise would signal a diminution of quality prove happily groundless.

From the get-go, “Spider-Man 3” (Columbia) registers as one of Hollywood’s best action films of any genre.

When the film opens, our endearingly self-effacing hero, Peter Parker, aka Spider-Man (Tobey Maguire), is ready to propose marriage to his longtime girlfriend, Mary Jane Watson (Kirsten Dunst). M.J. is about to get her big break in a new Broadway musical.

Peter is still contending with the ongoing enmity of his former buddy, Harry Osborn (James Franco), who continues to unfairly blame Peter for the death of his villainous father (Willem Dafoe), who had, in fact, taken his own life. An airborne battle between the two results in a knockout of Harry, who wakes up with no memory of his grudge against Peter.

Tobey Maguire stars in a scene from the movie "Spider-Man 3."

Thanks to this amnesia-inducing accident, the trio’s friendship is back on track, despite Harry’s lingering affection for M.J. But there’s trouble ahead.

On the personal level, M.J.’s less-than-stellar stage performance results in her firing. Peter is letting his Spider-Man accolades go to his head, even allowing himself to be photographed being kissed by first girlfriend Gwen (Bryce Dallas Howard) in the same famous upside-down manner as he memorably kissed M.J. Peter is completely oblivious to both M.J.’s hurt and her professional humiliation.

Fueling Peter’s arrogance is a slimy substance that he has inadvertently tracked into his apartment, and a mysterious black Spider-Man suit which has magically appeared, and which gives Spider-Man added strength, albeit at the cost of his basic decency.

At the Daily Bugle, Peter’s budding career as a photographer is undermined by a conniving newcomer, Eddie Brock (Topher Grace). Peter eventually gives Eddie his comeuppance, but the vengeful act results in Eddie’s transformation into the fearsome Venom.

The other new villain with which Peter/Spider-Man must contend is jailbird Flint Marko (Thomas Haden Church), whom we first see trying to reunite with his little girl against the opposition of his estranged wife (Theresa Russell). When Flint flees from the cops and gets trapped in a giant vat used for physics experiments, his molecules decompose, and he turns into the Sandman, able to morph into sand formations large and small.

The performances are remarkably fine across the board, and director and co-writer Sam Raimi doesn’t stint on the action (with ever-impressive digital effects), though the havoc wreaked by a loose crane in a skyscraper office building may conjure disturbing memories of Sept. 11, 2001.

Most admirable is the very human story imbued with a strong moral focus. When Peter kills the putative killer of his beloved Uncle Ben, and gleefully reports the villain’s demise to his gentle Aunt May, her disapproving words to him about revenge are about as potent a discourse on that subject as we’ve heard on screen in some time.

Despite Peter temporarily crossing over to the bad side (courtesy of that black suit), he and the other characters behave with uncommon decency. Not only is there no premarital sex, but even when M.J. and Harry exchange an impulsive kiss, they immediately regret the action, and quickly part.

Less praiseworthy is a curious church scene where Eddie fervently prays for Peter’s demise, though the wish seems to result in a beneficial transformation for Peter/Spidey in the church’s bell tower.

Even the villains are treated with compassion, and forgiveness plays a big part in the film’s two-hankie conclusion.

Some may find it overlong, but that’s a small carp in such a satisfying, surprisingly moving film, with its solid themes of good versus evil, self-esteem, forgiveness and redemption. Though the film is classified for adults because of some comic-book brutality, many parents may deem it acceptable for their older teens.

The film contains intense action violence, a couple of crass words, suicide reference, mild innuendo and a suggestive dance. The USCCB Office for Film & Broadcasting classification is A-III — adults. The Motion Picture Association of America rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.

Forbes is director of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. More reviews are available online at www.usccb.org/movies.

Capsule Movie Reviews

The Condemned (Lionsgate)

In this punishing action movie produced by World Wrestling Entertainment and starring “Stone Cold” Steve Austin, a television producer (Robert Mammone) stages a reality event for the Internet during which 10 criminals fight to the death on a tropical island. Director and co-writer Scott Wiper tries to have it both ways by showcasing extreme violence and depraved behavior while simultaneously criticizing those who peddle such objectionable material. Pervasive brutal violence and degrading situations, including torture and rape, pervasive rough and crude language and some profanity. The USCCB Office for Film & Broadcasting classification is O – morally offensive. The Motion Picture Association of America rating is R – restricted. Under 17 requires accompanying parent or adult guardian.

Diggers (Magnolia)

Mostly downbeat comedy-drama about the life and loves of L.I. clam diggers (Paul Rudd, Ken Marino, Josh Hamilton and Ron Eldard) played out against the encroachment of a big fishing corporation wreaking havoc on their traditional way of life. Katherine Diekmann directs Marino’s script capably, and there are good performances – including those of Lauren Ambrose and Maura Tierney. Pervasive rough and crude language and profanity, drug and contraception references, rear male nudity, sexual encounters without overt nudity and sexual references, premarital situations, brief pornography images, domestic violence and gratuitous bathroom scenes. The USCCB Office for Film & Broadcasting classification is L -- limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R – restricted.

In the Land of Women (Warner Bros.)

Well-intentioned, sometimes touching, drama about a sensitive screenwriter (Adam Brody) of soft porn, who takes time off to care for his dying grandmother (Olympia Dukakis) and finds himself drawn into the lives of her unhappy neighbor (Meg Ryan) and the latter’s daughter (Kristen Stewart). Writer-director Jon Kasdan’s directorial debut is a gently paced version of the old formula of a big-city guy finding the real meaning of life around “ordinary people.” Crude language, an instance of the f-word, a couple of crass expressions, some chemotherapy-related sickness, a brief violent scuffle, and pornography and adultery references. The USCCB Office for Film & Broadcasting classification is L – limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is PG-13 – parents strongly cautioned.