“With great hype comes great expectations.”
Okay, so that’s a bit of a twist on the classic Uncle Ben quote, but it’s particularly apt when discussing Bob Persichetti, Peter Ramsay, and Rodney Rothman‘s Spider-Man: Into the Spider-Verse. While we’re about to enter one of the busiest cinematic holiday seasons in recent memory, filled with big-ticket titles like Aquaman and Mary Poppins Returns, none of the other blockbusters are riding a wave of universal acclaim quite like this one. Rapturous early reviews took the internet by storm, with many calling this animated saga the best Spider-Man movie ever.
The hyperbolic nature of the reactions has put me in a strange predicament as a critic. So before I dig in, I feel I must forcefully, unequivocally emphasize something: I liked this movie. In fact, I liked it quite a bit. It’s a true feat of animation, so thoroughly invigorating in its fearless use of color, kinetic motion, and pure visual bravado. Though the film doesn’t quite live up to the “revolutionary” label, the pop art style is a game-changer, and I look forward to many more animated films crafted in this manner. And above all else, Into the Spider-Verse is a note-perfect introduction to Miles Morales (Shameik Moore); it’s abundantly clear that the filmmakers have a deep love for the Spider-Man mythos.
That being said, I think it’ll do everyone good if we tone down the hype meter on this just a few notches. I feel like a downer for saying so, but at a certain point, I’m not sure this very fun movie will be able to meet standards of unbelievable perfection.
Enter a New World of Spider-Heroes
One thing’s for certain: with its dimensional setup, Into the Spider-Verse may just be the most sprawling entry in the Spider-Man franchise yet. But the heart of this story belongs to Miles, a young kid from Brooklyn just trying to adjust to life at a new preparatory school. Miles’ parents (Brian Tyree Henry and Luna Lauren Velez) clearly want what’s best for him, yet it’s a struggle to fit in and find his own group of friends. Important to note here: Miles’ dad is a cop, and he’s not a fan of the vigilante figure known as Spider-Man. He’s not a fan at all. No ifs, ands, or buts about it.
When he’s not studying, Miles opts to spend time with his Uncle Aaron (Mahershala Ali), who encourages his artistic abilities and serves as a friend and confidant when his parents aren’t around. During one of their trips to a strange corner of Brooklyn, Miles has a fateful encounter with a radioactive spider. When he wakes up the next day, he’s suddenly one of the most powerful individuals in New York City. And before he can even master his powers, he’s thrust into an epic battle between Peter Parker and Kingpin (Liev Schreiber), who opens a portal to another dimension with his Collider device.
This is when things get weird.
In a matter of moments, Miles is no longer the only Spider-Man in the world. An alternate version of Peter Parker (Jake Johnson) emerges in New York City, along with Gwen Stacy (Hailee Steinfeld), Spider-Man Noir (Nicolas Cage), Peni Parker (Kimiko Glenn), and Spider-Ham (John Mulaney). It’s a wonderful group of oddballs, but they simply can’t exist in a different dimension – and it’s possible that Brooklyn won’t survive this dimensional split either. Time for the Spider-People to save the day.
An Accomplishment of Visual Energy
Nobody has ever seen an animated movie quite like Into the Spider-Verse, and I don’t think it’s even possible to be too extreme in this regard. I’m not enough of an animation aficionado to know exactly what directors Persichetti, Ramsay, and Rothman have devised here, but it’s thrilling to watch this vibrant world come to life, awash in gorgeous colors and eye-popping tones. We’re rarely afforded the opportunity to see raw, concentrated energy explode across the screen quite like this, and it’s truly worth celebrating.
With the help of the film’s visionary burst of creativity, we’re treated to a series of dazzling action beats destined to send some jaws to the floor. A wickedly fun heist at a famous Spider-Man locale, a high-stakes battle in tight quarter, a finale of overwhelming proportions – these are memorable, fluid displays of the collision between comic book art and cinematic action. At a certain point, it almost feels like the speed and efficiency of the action outpaced the audience, moving so quickly that it’s nearly impossible to keep up. But I’ve felt this way about a lot of animated movies, so maybe I’m just getting old and boring.
In addition to its remarkable aesthetic, Spider-Verse channels a spirit of unpredictability in its own comic construction, eliciting laughs with its self-referential playfulness and chaotic power. It’s whip-smart and often hilarious, channeling a specific meta spirit that allows the filmmakers to throw in nods to Spider-Man 3 and classic comics with reckless abandon. Something cool or crazy is always happening in Spider-Verse; it’s the film’s greatest strength and its biggest potential weakness.
Familiar Beats Keep Spider-Verse from Classic Status
The winks and comic references, which could seem obnoxious and needless on paper, are much more enjoyable in the context of the film’s core story, a narrative that plays as a reflection on the enduring mythological significance of the Spider-Man legend. Miles is a terrific character, and he’s a key part of this solid take on the hero’s journey. I have problems with the familiarity of the entire affair, but I love the dash of reflexive urgency; this is a Spider-Man movie where a character has to measure himself up against an iconic tale.
Still, the storytelling in Spider-Verse is an undeniable blind spot, especially in the face of so much enjoyable stuff. Running a somewhat exhausting 117 minutes, Into the Spider-Verse is a clear example of the syndrome of hyperactivity we see so often in modern franchise movies. There’s constantly something going on, but I wish there was an equal amount of attention directed to the overarching structure of the film.
Essentially, this is a story stuck between working as a coming-of-age saga for Miles and an expansive introduction to a greater universe. As individual units, those are both incredibly fun, almost ingenious ideas. The Miles origin stuff is delightful, and the alternate universe characters are a hoot. When cobbled together, the whole thing starts to lose its footing a bit. Someone is always destined to lose the film’s attention at any given moment, and I wish there was more clarity and precision on display to keep things in check.
Spider-Man: Into the Spider-Verse: Conclusion
But as an introduction to the “Spider-Verse,” I can’t imagine anyone who won’t want to immediately return to this world, despite those notable storytelling hiccups. As a stylistic achievement of world-building, Persichetti, Ramsay, and Rothman have made an animated saga that is just bursting at the seams with an infectious energy that can barely be contained by a single film. Miles and these supporting characters are just wonderful, and I’m beginning to think this could turn into quite the sensation over the holidays.
Who’s ready for more adventures in the Spider-Verse? I sure am.
What did you think of Spider-Man: Into the Spider-Verse? Would you be excited for more adventures in this universe? Let us know in the comments below!
Spider-Man: Into the Spider-Verse opens in UK theaters on December 12 and US theaters on December 14, 2018. For full release information, click here.
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