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½ Just when you thought these superhero franchises couldn't do any better and can only fare worse, and you turn cynical when you see an animation feature try to milk you this time around? Well, I was wrong. I was truly blown away by Spiderman: Into the Spider-verse. I'm gushing over the quality of the storyboard, the action sequences, the editing, and just simply how well executed that was. The animation was so impressive, I believe this doesn't just deserve an award nomination, but actually win some awards as well, like an Oscar for this. Brilliant and bold, and most importantly, plenty of heart. I love this very much.
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My favourite animation feature this year, together with Ralph Breaks the Internet. IT'S RAINING SPIDER-MEN - My Review of SPIDER-MAN: INTO THE SPIDER-VERSE (4 Stars) My distaste for superhero films has been well-documented, so consider my surprise that I actually found myself not only loving one, but remembering what I've seen! Consider that a major achievement with SPIDER-MAN: INTO THE SPIDER-VERSE, while still filled with all of the Marvel trappings I've grown so bored with, triumphs BECAUSE it's animated. Live action comic book movies always feel like a bunch of actors in Halloween costumes standing in front of green screens playing out simple black and white storylines.
With acting as stilted as the old Sword And Sandals Epics of yesteryear, I preferred seeking out the gray areas in other genres more in keeping with my tastes. With this new film, the genre feels more at home as an animated feature, especially because the animation feels so alive. Because you can literally do anything, the impossible action feels credible and the approximation to reading a comic gets its just due. Additionally, unlike its wooden predecessors, the voice acting pops with one memorable turn after another, and it doesn't hurt that diversity rules in a traditionally white story. Written by Phil Lord (THE LEGO MOVIE), comedy writer Rodney Rothman and directed by Rothman along with Bob Persichetti and Peter Ramsey, the film snaps and crackle with self-reflective humor reminiscent of DEADPOOL and, no surprise, the LEGO movies, but it finds enormous warmth with Shameik Moore's portrayal of Miles Morales, who, like Peter Parker (voiced here by Chris Pine), gets bitten by a radioactive spider and finds himself with the same superpowers. Faster than you can say 'Malkovich, Malkovich', more Spider-folks emerge when an accident threatens the lives of his counterparts from other dimensions.
Those include a pig named Spider-Ham (John Mulaney), Peni Parker, an anime-style girl voiced by Kimiko Glenn, and Spider-Man Noir, a hardboiled detective played by Nicolas Cage. Each incarnation gets their own filmmaking style, turning the film into a delightful genre blend. Its overall animation has such a fluidity to it as well as glorious 'steadi-cam' shots and thrilling action sequences. Add a terrific Kathryn Hahn as the delightful lab nerd, Doc Ock, Hailee Steinfeld as a very independent, misanthropic Gwen Stacy, Liev Schreiber as the big bad guy, the winning voice of Brian Tyree Henry as Miles' strict police officer father, Mahershala Ali as Miles' freewheeling Uncle Aaron, Lily Tomlin as the most fierce Aunt May yet and Jake Johnson practically stealing the film as a Peter Parker from another dimension, and you have one of the best voiceover casts I've seen in an animated film. Yes, the plot and the giant cast feels overstuffed at times, but it remains a quite charming experience throughout.
Miles' hero's journey includes the usual 'get off your ass and do something selfless' tropes, but his nerdy, humble demeanor brings joy to the film in ways that the usual stoic super-whatevers never achieve. The nonsense surrounding the 'collider' and fixing it before everyone dies isn't as interesting as watching Miles try to cozy up to Gwen, who just isn't having it. Despite this, the chase sequence through the woods outside the lab thrilled me in ways I haven't seen since Luke and Leia went on a speeder chase through the Endor forest. The film also has some surprising reveals and a dynamic and literal page-turning quality to the storytelling. I was reminded of And Lee's HULK in this regard, but again, the animation sells this quality way better than live action. I don't want to overpraise this film, because I'll likely forget most of it anyhow, but I will remember its eye-popping style and attention to character. It's a meta good time at the movies where for once, the calorie count in your popcorn doesn't exceed the surplus of all the good ones on the screen.
Walking out of Brad Bird's hotly anticipated sequel to The Incredibles, I was convinced there wouldn't be a better-animated film for the rest of the calendar year. Then I saw Ralph Wrecks the Internet and felt the same conclusion. What could top these two incredible movies from Disney? I wasn't expecting a parallel world Spider-Man animated film to contend with that heralded echelon, but after watching Spider-Man: Into the Spider-Verse, I am now certain. This is the best-animated film of the year and one of the best films of the year, full stop. It's rich, imaginative, exciting, satisfying, and way too much fun. Miles Morales (voiced by Shameik Moore) is an ordinary teenager starting a new school he's eager to leave.
His police officer father, Jefferson Davis (voiced by Brian Tyree Henry), is pushing him and can be embarrassing. His cooler uncle Aaron (voiced by Mahershala Ali) encourages Miles to express himself through his graffiti art. One night, Miles encounters the famous Spider-Man, a particle collider, and a special spider from another dimension that bites him. He develops super powers and seeks out Peter Parker (voiced by Jake Johnson) as the only other person who might understand what he's experiencing. Except there happens to be multiple Spider-laden heroes, including Spider Gwen, a.k.a. Gwen Stacy (voiced by Hailee Steinfeld), Spider-Pig (voiced by John Mulaney), Spider-Man Noir (voiced by Nicolas Cage), and an anime heroine Peni Parker with a giant spider robot friend.
They're all from alternate dimensions, dragged into Miles' world thanks to Kingpin's (voiced by Liev Schreiber) particle collider. If they don't get back to their original worlds they'll glitch out of existence, and Miles' own world, and everyone inside it, is threatened by the instability of that collider. Into the Spider-Verse is bursting with color, imagination, kinetic energy, and a real celebration of the art form of animation and comics.
Once that super spider bites Miles, the visual mechanics of the movie alter as well as him. Suddenly his thoughts are louder and appear in floating boxes (only we can see), in addition to thought bubbles, sound effects, and the occasional panel shifting transition device. It gets far closer than Ang Lee's Hulk at recreating the experience of a living comic, and it's joyous. The animation style too recreates the cross-shading effect of comic artists and the fluidity of the animation has purposely removed frames, giving it a slight stutter-step more often found in stop-motion animation. This distinct style might be off-putting to certain audience members accustomed to the smooth movements of modern animation mimicking real life, but for comic fans, it better approaches the captured stills of comic panels being connected into a whole.
The different animation styles of the new Spider characters, Looney Tunes to anime to stark noir Frank Miller riffs, become reminders of separate universes with their own visual rules that keep things fun. The film is vibrantly colorful and gorgeous to watch on the big screen where a person can best luxuriate in that flamboyant palette. The finale feels like an explosion of splash pages and graphic designs merging together, even mimicking the sprawling graffiti art of Miles.
It's a spectacular visual feast that manages to be that rare treat of something new yet familiar. The action of Into the Spider-Verse is delightful when it's comedic and thrilling when it's serious, but at every turn its fun, well developed, and wonderfully rendered.
Early on, as Miles learns the tricks of his new and confusing abilities, the action is wildly funny. Take for instance a sequence where he becomes attached to an unconscious Peter Parker through the Spider-Man webbing. Soon after, the police approach Miles, and now he has to make a break for it while still attached to another body, forcing him into a series of comic escapes. It's highly spirited and filled with enjoyable jokes.
Later, as Miles gets more centrally involved in Kingpin's scheme, the action becomes harsher, more violent, and dangerous. A battle between Miles and The Prowler gets more and more extreme, especially after some twists an audience may or may not see coming depending upon their source material knowledge (this is a parallel universe, after all).
The action is frenetic, inventive, and visually engaging, easy to follow and filled with wonderful organic complications that allow each scene to feel vital and different from the last. Into the Spider-Verse is also brashly hilarious from beginning to end. Being co-written by the writers responsible for The Lego Movie and 22 Jump Street, I was expecting a combination of clever and antic, and that's what they delivered and then some. There are brilliantly conceived and executed jokes but, and this is what separates the professionals, they do not distract from the larger work of the characterization. Often the humor is built through the characters, their personality and motivation differences, and the unique circumstances, so even when its zany it feels connected or grounded. There's a silly joke about getting more bread from a waiter that works on multiple levels and they keep going back to it for further meaning, and it's one example of many that shows the work put into their funny is meaningful and smart. After six movies and several animated series, audiences are well versed in the origin of Spider-Man, so Into the Spider-Verse even turns that knowledge into a source of humor itself, laying a formula for each new Spider character to introduce themselves with the same fill-in-the-blanks origin speech.
The alternate universe Spider heroes do not overstay their welcome and, miraculously, even find themselves with some potent small character moments, which is an amazing feat given the 100-minute running time. The laboratory break-in with Peter Parker and Miles is a comic highlight with plenty of complications, and there's a smart, sly joke about personal biases that just slides by nonchalantly that had me howling. The post-credit scene had me laughing so hard that I was crying. Please, I implore you, stick around for it and go out laughing with the biggest smile on your face. Besides being a great comic book movie and a great action movie, Into the Spider-Verse is also just a great movie.
The Spider-Man character is so familiar that the film easily could have gone on autopilot yet it puts in the work to build characters we care about, give them arcs, and provide setups and payoffs both big and small to maximize audience satisfaction. Miles is a terrific new character with a voice all his own, and his teenage foibles are both recognizable and refreshing. He's a hero worth rooting for, and his more personal family issues can be just as compelling as the end-of-the-world adventures. That's the core of what makes Spider-Man still an invigorating character 50 years later, and Into the Spider-Verse taps into that essential element even with an alternate universe Spider hero. It's got the DNA of Stan Lee and Steve Ditko's original creation and given a welcomed jolt of relevancy thanks to the onscreen racial diversity and youthful perspective. There are two relationships at the core: Miles and his father and Miles and Peter Parker.
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The latter is an unexpected mentor/pupil relationship that provides the enjoyment of watching both members grow through their bond, and the former allows a familial baseline to come back to and demonstrate how far we've come. The Peter Parker/Miles relationship has that big brother/little brother angst that keeps things sharp while still maintaining an undercurrent of emotional need. There were genuine moments where my eyes welled up. The film can be that affecting because it is so well structured and developed from a characterization standpoint. Even the chief villain, the Kingpin, has a motivation that is personal and effectively empathetic.
Everyone involved gets careful consideration, even the bad guys. Let me cite one prime example that showcases how great the storytelling can be (minor spoilers). At one point, Miles is bound and gagged by the other heroes to prevent him from joining them in a dangerous activity they do not believe he is ready for. They're removing him from the team for his own good. Then, at this low point, his father comes to visit him and tries talking to him through the other side of his dormitory door. They've had some challenging moments between them and what Mr. Davis has to say is extra challenging.
He's trying to connect with a son he feels he's losing touch with, and it's a one-sided conversation where Miles is unable to respond to his father's pleas, who eventually walks away knowing his son is there but not ready to talk. Right there, the screenwriters have gone from the fantastic to the personal, finding a way to bring Miles even lower but in an organic fashion that plays right into his ongoing communication problems. It's a simple moment to start with, standard even, but then having it contribute to the father/son estrangement is beautiful and handled so well. The sparkling screenplay for Into the Spider-Verse is packed with moments like this.
The voice acting is perfectly suited for their roles. Moore (The Get Down) is an expressive and capable young actor that brings a terrific vulnerability to Miles, selling every emotion with authenticity. Johnson (Tag) is the absolute best choice for a slacker Spider-Man who has become jaded and self-indulgent. His laid back rhythms gel nicely with Moore's eager breathlessness. Henry (Widows) is so paternal it hurts your heart. Steinfeld (Bumblebee) is poised and enjoyably spry.
Cage (Mandy) is doing everything you'd want a Nicolas Cage-voiced crime fighter to be. Schreiber (Ray Donovan) can be threatening in his sleep with that velvety voice of his. Plus you get Katheryn Hahn as a villain, Zoe Kravitz as Mary Jane, and Lily Tomlin as Aunt May, and they're all great. As the credits rolled for Spider-Man: Into the Spider-Verse, I tried searching my brain for any flaws, minor quibbles, anything that would hold the film back from an entertainment standpoint. The only thing I could think of is that animation style, but different people will either find that look appealing or irritating. This is a glorious and gloriously entertaining movie replete with humor, heart, surprises, payoffs, and a great creative energy that bursts from the big screen.
This really is a movie to see on the big screen as well, to better feast on the eye-popping visuals and pop-art comic book aesthetics that leap from the page to the screen. It's the second best Spidey movie, after 2017's impeccably structured solo venture, Homecoming.
The late addition of the other alternate universe Spider heroes keeps things silly even as it raises the stakes. The film is a wonderful blending of tones and styles, from the different characters and universes to the heartfelt emotions and vicarious thrills of being young and super powered. This is a movie that even Spider novices can climb aboard and fall in love with. Into the Spider-Verse is a film for fans of all ages and nothing short of the bets animated film of 2018. It's as good as advertised, folks. Nate's Grade: A.
Growing up, I grew an appreciation for the character of Spider-Man that I've never been able to develop for any other comic book character. It was Sam Raimi's original live-action trilogy that hooked me and had me scrounging for more. Watching countless episodes of every cartoon iteration, and even starting to read a few of the comics, I found myself becoming a huge fan of this generational icon. Once Spider-Man 3 hit theatres, the character had lost all hope on the big screen, until Andrew Garfield took the role from Tobey Maguire, which didn't last too long, and also crashed and burned. Finally, he found his footing in the Marvel Cinematic Universe, played by Tom Holland, but none of that matters when watching Spider-Man: Into the Spider-Verse. Not only is this the best that this character has been in a while, but I believe there's a real argument to made that this is possibly the greatest feature-length film based on this character, period. In this film, which is loosely based off of storylines that are very similar to how this movie plays out, Spider-Man: Into the Spider-Verse follows Miles Morales as he's bitten by a radioactive spider and develops the same (and more) powers as his hero, Spider-Man.
After an event opens a portal, it's revealed that his universe isn't the only one. There are endless dimensions out there with parallel characters and creatures, all with similar backstories. From Spider-Gwen to Spider-Ham, this film explores the classics as well as the bizarre, which I fear will probably turn off some average moviegoers who haven't experienced these characters yet, but if you can't embrace a film like that, it's probably not for you anyways. From the very first teaser trailer, I was very intrigued by the look of this film and how different it looked from most animated films out there today. With only a couple of notable films in Cloudy with a Chance of Meatballs and Arthur Christmas, Sony Pictures hasn't had the best track record in terms of releasing animated movies theatrically. Spider-Man: Into the Spider-Verse has given new life to that notion, because this isn't only the best they've ever produced in my opinion, but it's the best animated movie that has come out all year.
The unique style leaps off the screen and made me find another layer to love, on top of the fantastic storyline and characters surrounding it. Yes, the origin story of Peter Parker is the one that everyone knows. That is very much present here again, and nearly every one of these characters share similar backgrounds, but it feels as though the filmmakers expect the audience to be in on the joke of that. This movie is very meta at times, and it works very well if you're invested in the movie as a whole.
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At the emotional core of this movie is how these characters differ from one another and how certain circumstances can be worse than others. There are some fantastic life lessons to be learned by children here, and for that, I only loved this movie even more. In the end, Spider-Man: Into the Spider-Verse impressed me on many levels. It gives you the Spider-Man action that you've come to expect from this character, as well as giving new life to it. The character of Miles Morales has just as many layers to his story as the classic Peter Parker one, but the inclusion of each one of the side characters here fleshes him out even more. This is one of the best superhero origin stories I've seen on the big screen in years. Filled with heart, emotion, plenty of action, and eye-candy as far as the eye can see, Spider-Man: Into the Spider-Verse is one of my favourite films of the year.