There is nothing more amazing about “The Amazing Spider-Man 2” than the absurdity of its villains, soundtrack and execution. Theaters should sell Ibuprofen at their concessions stands for such migraine-inducing films.

This time around, each element the first film had right is improved and each element it had wrong has become worse. While noble in its pursuit to stay true to the comics and create a dynamic spectacle á la “The Avengers,” the production team has fallen short of preventing a train wreck like that of 2007’s “Spiderman 3.”

Since the first installation of the “Spider-Man” reboot in 2012, I had high hopes for the series. The “Amazing Spider-Man” came with its flaws, but those were forgivable considering director Marc Webb’s ability to lend Peter Parker the onscreen edge and angst he deserves.

In the first film, Parker, played by Andrew Garfield, is the quintessential moody teenager who mopes around with his hood up, headphones in and attitude ready. All of that shines through his web-slinging alter-ego, who’s equally moody and a bit snarky.

That film has three main storylines: the story of Spider-Man’s origins, Parker’s budding romance with Gwen Stacy, and the development of the villain The Lizard. Webb captured each of these well with a balanced set of action and an alternative soundtrack.

This film has so many storylines I lost count. The origin story continues. New tensions arise in Parker’s romance. Aunt May struggles to cope with her husband’s death. Norman Osborn battles death. Harry Osborn begins his transformation into The Green Goblin. Electro terrorizes the city. The Rhino terrorizes the city. The Sinister Six, a gang of Spider-Man’s most popular enemies, begins to take root.

Fortunately, the film offers some bearable substance through Parker’s romance with Gwen Stacy, who is played by Emma Stone. These characters share evident chemistry with each other, and the dedication of the two actors adds an appreciated dimension that is lacking in the rest.

Parker continues to struggle with the growing responsibility of the crime he chooses to battle and the effect it has on his loved ones. Stacy struggles with the difficulties of loving an emotionally imbalanced teenage superhero.

Webb has devoted a lot of screen time to this relationship, which is awesome as it enables Garfield and Stone to take their chemistry to the next level. But those not familiar with the comic version of the Stacy-Parker dynamic are in for a rollercoaster of emotions by the end of the film. Diehards who know how the story ends will probably giggle inside at the subtle teases that appear throughout.

Unfortunately, this dramatic element is the only thing the sequel improves upon. Instead of continuing the narration and improving the action, it shoehorns a handful of new elements and drives the imagination nuts.

The first five minutes of the film answer whatever questions one might have about the weird Parker parent mystery. The following five minutes play out in an impromptu battle between Spider-Man and a Russian lunatic played by Paul Giamatti.

The background noise to the film’s emotional substance comes with the introduction of a half-crazed electrical wizard who becomes Electro, an emo and disease-ridden Harry Osborne, and a villainous group known as the Sinister Six.

Jamie Foxx delivers no credibility before Electro starts kicking ass. Osborne has no relevance until Electro loses his spark. Finally, Paul Giamatti’s cameo as the Rhino proves to be more of a laugh than most of Spidey’s one-liners.

None of these crucial supporting characters receive the time or attention they deserve.

To make matters worse, the soundtrack, an awkward mix of techno beats, top-40 tracks and orchestrated scores, fails to effectively evoke emotions that coincide with the story. For a director who gained recognition through the music video industry, one should be disappointed by how far he’s missed the mark here.

While the special effects are amazing, as in most summer blockbusters, I failed to appreciate them. As is the case in many of these films, most of the action sequences were filmed for 3D screens. There were too many close-up shots of Spidey and his villains for comfort.

All of these are mistakes made in the first film, after which apparently no lessons were learned. Instead, more money was provided to make them worse.

By the end of the film nothing impressive has hit the screen. “The Amazing Spider-Man 2” is worth nothing more than the emotional intensity of Parker’s love life. For audiences who seek a chaotic, mind-numbing superhero flick that is slightly more promising than the animated fanfare on Netflix, this is it.