Lord has created an inventive alternate New York that’s just slightly off from our own. Lord knows how to revitalize properties and make weird ideas become fantastic. It’s no surprise then that Spider-Man: Into the Spider-Verse is written by Phil Lord, half of the team that made other great self-referential comedies like The LEGO Movie and 21 Jump Street. Spider-Verse clearly loves this character and the playfulness with which the film has towards this world is contagious. The opening moments of the film parody the worst moment of Sam Raimi’s trilogy and the end credits sequence revels in the world of Spider-Man memes. But most importantly, Spider-Verse delights in the history of Spider-Man and has a ton of fun with it. Tired of so many people playing Spider-Man? Well, now there are six. This is largely yet another origin story, but Spider-Verse’s poking fun of how many origin stories it can tell makes this a strength. Spider-Man: Into the Spider-Verse knows how to play against the series’ weaknesses. Rounding out the group is Noir Spider-Man (Nicolas Cage), futuristic, anime character Peni Parker (Kimiko Glenn), who controls a spider-powered robot, and the brilliant Spider-Ham (John Mulaney), a WB cartoon come to life. Also brought to this dimension is Spider-Woman (Hailee Steinfeld), a Gwen Stacey who was bitten instead of Peter. Parker begrudgingly teaches Miles the ropes/webs as they try to get Parker back to his dimension and destroy Kingpin’s machine. ![]() Johnson’s Parker is a slob (who looks strangely like the male character in the Pixar short, Feast), and has recently gotten a divorce from MJ. In powering up the machine, Kingpin brings several different Spider-Men/women/pigs to Miles’ Brooklyn. Soon after gaining these newfound powers, Miles follows his dimension’s Spider-Man (Chris Pine) in a fight with Kingpin (Liev Schreiber), who has created a machine to jump between alternate dimensions. You know, like your friendly, neighborhood Spider-Man. While doing some subway tagging with his Uncle Aaron (Mahershala Ali), Miles is bitten by a radioactive spider and soon discovers he’s stronger and can now walk on ceilings. Morales is a normal kid, whose biggest problems are adjusting to a new school and dealing with his police officer father (Brian Tyree Henry). But Spider-Man: Into the Spider-Verse instead is a vital, vibrant, and unique take on the superhero genre that breathes life not just into Spider-Man, but into superhero films in general. At this point, Spider-Man should feel tired and uninspired. When a Spider-Man from another dimension (Jake Johnson) appears to Miles, he’s tired from trying to save everyone and as a viewer, it’s hard not to blame this alt-Parker for his fatigue. Like many of us, Spider-Man has been in his life for years, a character whose omnipresence is almost taken for granted. In Spider-Man: Into the Spider-Verse, Miles Morales (voiced by Shameik Moore) has grown up in a world that we’ve only watched on the screen for decades. Spider-Man has become one of the most beloved characters in Marvel’s library of characters, and he’s also one of the primary character people speak about when the complain of “superhero fatigue.” In just sixteen years, there have been three different live-action Spider-Men and Peter Parker helped kickstart cinema’s superhero obsession. Since Spider-Man debuted in 2002, Spider-Man has appeared in a film on average about once every two years.
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