Spider-Man: Into the Spider-Verse (2018)
Directed by Bob Persichetti
Struggling to find his place in the world while juggling school and family, Brooklyn teenager Miles Morales is unexpectedly bitten by a radioactive spider and develops unfathomable powers just like the one and only Spider-Man. While wrestling with the implications of his new abilities, Miles discovers a super collider created by the madman Wilson "Kingpin" Fisk, causing others from across the Spider-Verse to be inadvertently transported to his dimension.
35 connections found
View:
35 films that influenced this film
What critics say influenced Spider-Man: Into the Spider-Verse
The story makes fun of all the comic book tropes, of the line 'with great power...' and hell, they also take a jibe at Tobey Maguire's dancing item in 2007's Spider-Man 3.
Like any great "Spider-Man" movie, "Spider-Man: Into the Spider-Verse" works because of its complex and relatable protagonists and memorable villains.
The Peter Parker version of the character (initially voiced by Chris Pine) sets us off with a narration, deftly spinning the long history of the character into one package (there’s even a loving dig at Sam Raimi’s controversial “Spider-Man 3”).
It starts off with a hilarious callback to the forgettable Spider-Man 3 (2007), acknowledging it with fondness even when it pokes fun at it.
Reaching peaks with Spider-Man 2 and Spiderman: Homecoming , only to crash down with Spider-Man 3, The Amazing Spider-Man 2 and this year’s spin-off/unintentional romantic-comedy Venom.
Like any great "Spider-Man" movie, "Spider-Man: Into the Spider-Verse" works because of its complex and relatable protagonists and memorable villains.
Reaching peaks with Spider-Man 2 and Spiderman: Homecoming , only to crash down with Spider-Man 3, The Amazing Spider-Man 2 and this year’s spin-off/unintentional romantic-comedy Venom.
By focusing on the black, teenaged, Miles Morales version of Spider-Man, introducing him to a half-dozen other Spider-Men (and women, and a pig) from other dimensions, and combining that with creative animation, directors Bob Persichetti, Peter Ramsey , Rodney Rothman have created the best Spidey film since Sam Raimi's 2004 Spider-Man 2.
The upside-down kiss with Mary Jane from Raimi’s 2002 original, the train rescue from Spider-Man 2 , and the regrettable Spider-Man 3 dance sequence are all referenced, and when he dies, it serves as a clean break from all other iterations of the character.
I don’t know if I could actually say right now for certain that this one is better than “Spider-Man 2” but if someone were to put forth that argument, I would not necessarily disagree with such a statement.
Spider-Man's iconic train save from "Spider-Man 2" is one of the Sam Raimi moments referenced in the animated film.
Like any great "Spider-Man" movie, "Spider-Man: Into the Spider-Verse" works because of its complex and relatable protagonists and memorable villains.
It's a genially savage riff on the lazy formula of superhero movies for one thing, introducing each of its alternate universe Spider-Persons with a goofy nod to the fact that Spider-Man's origin story, in particular, has been given all the cinematic attention that it ever could possibly need at this point, but let's do it six more times in 90 minutes, just to be sure.
Overkill and saturation point reached several times over, even the most dedicated Marvel fans must be feeling jaded (Spider-Man: Homecoming was only released last year, Venom only a few months ago) so kudos to The Lego Movie and 22 Jump Street directors Phil Lord and Christopher Miller for their latest creation - a Spider-Man movie that does something different, sends up the whole sprawling world of super heroism, and delivers a feel-good message movie all at the same time.
After Sam Raimi’s original mixed-bag trilogy, Andrew Garfield’s all too familiar outing as the webslinger, and last year’s Spider-Man: Homecoming, it would be fair to say we’ve had enough Spider-Man films.
It’s a risk not only to release a Spider-Man film slotted in between Disney’s own behemoths (last year’s Spider-Man: Homecoming and next year’s Spider-Man: Far From Home), but to release one that openly rejects the idea that Holland’s Peter Parker is the definitive Spider-Man, declaring that “anyone can wear the mask”.
Before now, the closest mention to a possible, ‘bigger world’ inclusion was a deleted scene from Spider-Man: Homecoming where Aaron Davis (played in that universe by Donald Glover) mentioned his nephew.
Much in the same way Spider-Man: Homecoming felt authentic to Tom Holland’s portrayal of Peter, punk rock rebellion and all, Into the Spider-Verse reflects all that is Miles in his wondrous complexity.
Advertisement
But, as the comic-savvy script by Phil Lord (“The Lego Movie”) and Rodney Rothman (who co-directed with Bill Persichetti and Peter Ramsey) explores, there are a lot of spider-beings out there.
Overkill and saturation point reached several times over, even the most dedicated Marvel fans must be feeling jaded (Spider-Man: Homecoming was only released last year, Venom only a few months ago) so kudos to The Lego Movie and 22 Jump Street directors Phil Lord and Christopher Miller for their latest creation - a Spider-Man movie that does something different, sends up the whole sprawling world of super heroism, and delivers a feel-good message movie all at the same time.
This animated feature is directed by Bob Persichetti, Peter Ramsey and Rodney Rothman, but it feels like the key creative cog is co-screenwriter Phil Lord, who pulled off a similar feat of franchise maintenance with The Lego Movie.
The screenplay is by Phil Lord and Rodney Rothman, the former of Lord and Miller, the team that brought us the wildly inventive Cloudy with a Chance of Meatballs movies, The Lego Movie , and the delightfully bonkers Jump Street reboots; Rothman contributed to the script for 22 Jump Street .
Phil Lord—one half of the duo responsible for The Lego Movie and 22 Jump Street—cowrote this animated Marvel Comics adaptation, and like the films he codirected, it exhibits a free-for-all wackiness reminiscent of 1930s Looney Tunes.
This self-awareness, definitely brought to the table by screenwriter and The LEGO Movie helmer Phil Lord, adds to the light-hearted tone of this film and almost acts as a reset for the Spider-Verse we know already.
When Pixar released Toy Story in 1995, it probably didn’t realize that it was establishing a visual language for computer-animated feature films that would persist for the next two decades, more or less unchallenged.
For starters, it’s animated, a cool blend by directors Bob Persichetti, Peter Ramsey and Rodney Rothman that’s a bit of the old TV cartoon, a bit of the blurry three-color printed comic and a lot of the creamy rich CGI we’ve come to know since Pixar punted out “Toy Story.”
Spider-Man: Into the Spider-Verse me parece el mayor avance que se ha hecho en el medio desde Toy Story , en 1995, y con suerte más artistas se inspirarán en sus aciertos para jamaquear la industria y revitalizarla.
Ample praise was rightly directed at the unique visual slant of the likes of The Incredibles and Batman: Mask of the Phantasm, but the phantasmagoric look of Spider-Man: Into the Spider-Verse will doubtless ensnare more than just filmgoers.
Spider-Man: Into the Spider-Verse is Batman: Mask of the Phantasm for this generation: an animated film that may sit outside the barriers of its live-action counterparts, but packs an impressive punch where it refuses to be ignored.
And while other science fiction institutions, like Star Trek and Doctor Who , mostly shy away from the tricky concept of the alternate reality or parallel universe (except on special occasions), here the unruly notion is deployed with much wit, especially when a crowd of gawkers examine a bit of leftover extra-dimensional strangeness on a NY street, and wonder if it’s a Banksy.
Advertisement
From a flashy opening title treatment that feels like it was inspired by “Enter the Void,” to a color-frenzied climax that looks as if it takes place inside of an old iPod commercial, this clearly isn’t the Spider-Man you’ve seen on screen before.
When the opening credits roll, the various studio logos transform into eye-popping psychedelic glitches — the first time a kid’s movie has ever reminded me of Enter the Void .
It's American anime, essentially, an Akira moment for our film art that will sooner or later be identified as the definitive event where everything tilted forward.