'Spider-Man: Into the Spider-Verse' Is Amazing and Spectacular

The title of this review is the same as the title that I gave my review for Spider-Man: Homecoming.  It’s because Spider-Man: Into the Spider-Verse is also worthy of being described with those two adjectives that have been forever attached to the iconic comic book character.  In fact, Spider-Man: Into the Spider-Verse is much better than Spider-Man: Homecoming.

Unlike previous Spider-Man films, which centers on the original Spider-Man Peter Parker, this animated feature revolves around Miles Morales’ Spider-Man.  Struggling with his new life in an elite boarding school, Miles (voiced by Shameik Moore) decides to take a break by visiting his uncle Aaron (Mahershala Ali).  While hanging out in an abandoned subway station, Miles gets bitten by an unusual spider, which grants him super powers.  Soon, he meets Peter Parker (Jake Johnson), as well as other web-slingers hailing from alternate universes – Spider-Gwen (Hailee Steinfeld), Spider-Noir (Nicolas Cage), Spider-Ham (John Mulaney), and Peni Parker (Kimiko Glenn) – brought into his universe by a reality-threatening science project bankrolled by the deadly, hulking Kingpin (Liev Schreiber).  In order to help his Spider friends take down Kingpin and his supervillain goons that they may get home, Miles must figure out how to be a proper Spider-Man… and fast!

Spider-Man: Into the Spider-Verse is an awesome superhero film.  First of all, it has managed to provide a very compelling origin story for Miles Morales/Spider-Man.  Unlike 2002’s Spider-Man and 2012’s The Amazing Spider-Man wherein Peter Parker becomes Spider-Man within the first third of the movie – which is understandably necessary, by the way – this movie instead chooses to show Miles Morales gradually developing into the role of Spider-Man, growing pains and all.  It takes until the end before he truly becomes Spider-Man.  Because the movie takes its time, Miles’ hero arc is build up to become more impactful.

However, it isn’t just an impeccable Miles Morales movie.  It also manages to set up a shared cinematic universe of future films without making itself feel bloated.   I was blown away that it manages to pull this off considering all the intentions, characters, and details it needs to juggle.  Typically, when such $$$-motivated, rushed aspirations are involved in a movie, it turns out becoming an epic mess (cases in point: Batman v Superman: Dawn of Justice and The Mummy reboot).  Instead, Spider-Man: Into the Spider-Verse succeeds in accomplishing all what it has set out to do in a seamless and delightful fashion.

Actually, I really wanted Sony to make a Spider-Verse movie back when they hadn’t made the Spider-Man deal with Marvel yet.  I thought that going the Spider-Verse route (instead of making a Sinister Six film) was the best way for Sony to realize their Avengers-scale ambitions.  But when Sony and Marvel made the deal to bring Spidey to the MCU, my preference for Spider-Verse on the big screen changed.  I started wishing that it would serve as the avenue for Marvel to introduce the multiverse to the MCU (which would involve Tom Holland’s Spidey teaming up with the Tobey Maguire and Andrew Garfield Spider-Men, an Emma Stone Spider-Gewn, and a CGI Spider-Ham voiced by a past Spider-Man voice actor).  Thus, when I learned that the Mile Morales animated film was going to incorporate the “Spider-Verse” concept, I was a bit bummed out because it probably destroyed the chances of my MCU Spider-Verse dream from happening.  Fortunately, Spider-Man: Into the Spider-Verse is able to do something genuinely fantastic and exciting with it, so I wasn’t completely heartbroken about it (nonetheless, a part of me is still hoping that the MCU will have give Tom Holland’s Spider-Man his own Spider-Verse movie down the line).

Anyway, it’s an extremely witty Spider-Man movie.  It generously references and pokes fun at a multitude of elements from years of Spidey lore across different media.  Long-time fans will surely appreciate these tremendously.  I had to stop myself several times from clapping giddily and loudly like a kid while watching in the theater.

All these are due to a very well-written script by Phil Lord and Rodney Rothman, which is perfectly realized on screen under the praiseworthy direction of Bob Persichetti, Peter Ramsey, and Rodney Rothman.  The filmmakers truly bring about an utterly engrossing and rewarding narrative.  It has heart and thrills.  It also has tons of humor.  Honestly, I can’t remember any of its jokes missing their mark; I laughed a lot.  In addition, it commendably sets out to subvert expectations time and time again – leading to either big laughs or surprises.  I’m a huge, knowledgeable Spidey fan, so I wasn’t surprised by some major reveals.  Nevertheless, I still notice how certain things are brilliantly executed so that the eventual reveals can have the most optimum effect possible – meaning, those who don’t read the comics will definitely be surprised.  Thus, I have nothing but appreciation for its storytelling.

Meanwhile, the characterizations are excellently written.  Every character is introduced quickly but efficiently and amusingly, and every character receives the right amount of fleshing out that he or she deserves and needs to make an impact on the story.  Moreover, I love the character dynamics that flourished among the characters, especially the heartwarming mentor-protégé relationship between Peter Parker and Miles Morales.

The only nitpick I have when it comes to the writing is why there were Spider-Man comics in Miles’ universe when Spider-Man is a real person in it.  It didn’t make sense to me.  Was it supposed to be a meta joke? Or did the Peter Parker/Spider-Man of its world licensed his origin story to a publisher?  If so, it doesn’t seem wise of him to do so.

Lastly, it’s an absolute eye-candy.  Its visual style often feels that it’s the closest thing to seeing a comic book unfold as an animation, without it looking like a cold motion comic.  At slow moments, it can be noticed that it even mimics the old-school, grainy look of artwork printed on comic book paper.  Moreover, it also employs elements typical to the medium, such as flashback panels, text boxes of characters’ thoughts, and sound effect onomatopoeia.  As a result of these, its visual storytelling comes off as fresh, sumptuous, engaging, and explosive.

I really love Spider-Man: Into the Spider-Verse.  In fact, it might have become my most favorite film of 2018 – a spot long held by A Quiet Place.  But it can also be just a case of recency bias.  I don’t know.  I will be only fully sure once I reflect on these movies as I construct my “top 20 movies of 2018” list.  Regardless, it’s definitely a great movie, and one of the best I’ve seen this year.

I’m excitedly looking forward to more installments from this new animated franchise. (Apparently, the next one, based on the brilliant post-credits scene, [SPOILERS] will involve Miguel O’Hara a.k.a. Spider-Man 2099, and he’s being voiced by Oscar Isaac!  Can’t wait!)