SPIDERMAN INTO THE SPIDERVERSE: Perfection in Comic Book Movie and Animated Movie Filmmaking

Genre: Animation, Action, Adventure

Produced by: Amy Pascal, Christina Steinberg, Avi Arad, Christopher Miller, Phil Lord

Directed by: Rodney Rothman, Peter Ramsey, Bob Persichetti

Written by: Phil Lord, Christopher Miller

Production Company: Sony Pictures, Marvel

Starring: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Luna Lauren Velez, Lily Tomlin, John Mulaney, Kimiko Glenn, Nicolas Cage, Liev Schreiber    

Runtime: 116 minutes          

SYNOPSIS: 

Miles Morales (Shameik Moore) gets bitten by a radioactive spider, granting him with the necessary superpower to become Spiderman. But there’s a twist in the tale. It turns out that he is just one of the many Spidermen spread across multiple universes. When those universes start colliding, all these Spidermen must team up to take down crime lord Kingpin (Liev Schreiber) and get those who belong in other universes safely home. 

REVIEW: 

As far as standalone superhero movies go, Spiderman has the most movies than others. Some might argue for Superman and Batman, but at least, in the Marvel world, Spiderman remains the most popular to both fans and studio. Ever since Tobey Maguire bursts onto the scene as Peter Parker/Spiderman in 2002’s Spiderman, including the aforementioned, there’s been six Spiderman solo movies and, following in Maguire’s steps, two more Peter Parker/ Spiderman in Andrew Garfield and Tom Holland. That’s not even counting a pair of Spiderman’s MCU appearances as a supporting character in Captain America: Civil War (2016) and Avengers: Infinity War (2018), which means that Spiderman has had eight cinematic appearances in its history. But the Spiderman mania could not get as crazy as in 2018. Following his live-action appearance as a part of the huge MCU ensemble in Infinity War, it is now Spiderman: Into the Spiderverse’s turn to shine. 

Marketing-wise though, Into the Spiderverse proves to be much more of a gamble than the intellectual property’s bankability may suggest. Firstly, it is the first Spiderman movie to be animated, which is a tough sell for the adult audience who deem animation as a “kids’ movie”. Secondly, it is the first Spiderman movie to feature Miles Morales in the Spiderman role, which is again a tough sell for both general audience and non-comic book fans that are used to seeing Peter Parker as Spiderman.  Last but not least, the narrative’s idea of multiple universes Spiderman itself is unconventional for a superhero movie, which is once again a tough sell for an audience who are used to the tried-and-tested superhero formula. 

Whether it’s a risk worth taking financially, only the box office numbers can say. On an artistic standpoint though, there is no denying Into the Spiderverse’s innovative animation. Mind-blowing is such a clichéd word in film criticism, but even saying that Into the Spiderverse is mind-blowing is an understatement.  Into the Spiderverse dares to push boundaries in ways The Nightmare Before Christmas (1993) and Toy Story (1995) did with stop-motion animation and 3-D computer-generated animation respectively. Time will tell if Into the Spiderverse can inspire many copycats, but for now, this is the movie that gives birth to a new animated medium: a colorful, trippy Pop Art-inspired style of animation that combines the best in both hand-drawn animation and 3-D computer-generated animation. It is certainly a style that suits writers Phil Lord and Christopher Miller’s desire to faithfully recreate the actual comic book aesthetics. 

In a time where the term “superhero fatigue” exists, this should be the remedy. Into the Spiderverse is the definition of comic book pages coming to life. As a comic book movie adaptation, this goes beyond just adapting the characters, stories or its setting onto the screen. It basically adapts everything that’s ever been laid on the pages. Not many Spiderman movies are as immersive as Into the Spiderverse, in the sense that the viewing experience closely resembles flipping through comic book pages, complete with the text bubbles, the multi-paneled imagery resembling a comic book page, motion lines to depict characters moving really fast and sound effects popping onscreen. 

It’s the kind of creative choices that would have looked ridiculous in a live-action movie, but in the animation world, it gives everything that’s happening on the foreground and background more life. Eventually, characters are the elements that matter the most, but it’s also refreshing to see that there are still animators who also pay attention to how aesthetics can impact the storytelling. If utilized properly, the things that are happening in the background can really enhance the emotions in the characters and story. And utilized properly it did. Just the explosion of text bubbles and lines to depict characters’ movement in numerous scenes further helps immerse the audience into the mind of what it is like to be Spiderman, particularly inside the teenage minds of the boy behind the mask Miles Morales, in a way that’s never before seen in a Spiderman movie. 

Its impact also extends to the action sequences, where the animators run wild with the comic book conceit. After all, in animation, anything goes. A superhero running at full tilt with nothing in the background but motion lines or a mid-flight battle between superhero and a villain set on an empty background is indecipherable in the live-action format. Heck, even Ang Lee tried to emulate the multi-paneled imagery of a comic book page through his cross cutting style editing with his live-action comic book movie Hulk (2003), and it just did not blend well with that movie’s gritty setting. And the fact that Into the Spiderverse succeeds in the things that these live-action comic book superhero movies failed shows that all the style really needs is the appropriate medium. 

And yes, this movie is packed with live-action-wise indecipherable superhero set-pieces, and they’re animated so beautifully. In another unorthodox move, the animators take a more stop motion approach to the way they animate the characters’ movement. While not as fluid as the 3D computer generated animation, in this movie’s case, it actually gives the things that’s happening onscreen more movement and energy. And in the end, the most important aspect of action is movement and energy, both to the living and artificial objects. Just the way the movie animates Spiderman swinging through town has those two qualities, not just with the living object’s movement but also how the artificial ones reflect it. 

Beyond the Pop Art comic book-esque style animation, Into the Spiderverse has such a premise that lends itself to a wider range of animation styles. Having alternate universe Spidermen like Peni Parker (Kimiko Glenn) and Peter Porker (John Mulaney) onboard, the movie is also willing to take a slight detour from the Pop Art animation to delve into more anime, and traditional, Looney Tunes-esque territories, both to spectacular result. It’s a maelstrom of different animation styles clashing heads in one frame that in turn proves to enrich the visuals rather than distract. 

Credit must be given to Lord and Miller, who stayed as faithful as possible with the source material, particularly with both their character designs. Stylistically, they are probably two of the most unique alternate universe Spidermen in the movie, and at the same time, they don’t necessarily fit in Lord and Miller’s specific vision. But thankfully, they didn’t let their vision tamper with those characters’ uniqueness. They’re in their most unique form when they are in their original forms. Beyond just looking like an anime and Looney Tunes character, they are also given small action moments to show off those chops. When they are in action, the animation style takes a drastic change, for the better. On Peni’s case, the action sequence takes a more oriental graphic art direction staged to look like anime sequence. As for Peter Porker, the action sequence takes a more traditional 2-D animation, filled with those styles’ typical slapstick gags staged to look like a Looney Tunes short. All in all, it’s another strong case for Into the Spiderverse’s animated innovativeness. 

A Spiderman movie with such a daring premise would not be as merry without the humor, and Into the Spiderverse is loaded with subversive humor. Obviously, in an era filled with edgy, pseudo-superhero comedy movies like the two Deadpool movies (2016 & 2018) and Guardians of the Galaxy (2014), subversive in the superhero realm has become something of a norm, to the point that subversive becomes generic.  Into the Spiderverse though earned the subversive title. Look no further than Peter Parker/Spiderman’s narration in the opening sequence, which is just the filmmakers’ excuse to both tribute and poke fun at past Spiderman cinematic incarnations. 

If it was Deadpool who is speaking, then he would have name-dropped specific actors and specific titles. Whereas the Deadpool movies do self-referential humor in a more direct way, Into the Spiderverse prefers to do it in a more subtle way. It is the movie that trusts the audience to locate where the jokes are at. To those who are less inclined in the pop culture knowledge, it’s the type of comedy that might go over the audience’s heads, but to those who get the references, it’s the type of comedy that truly hits. And the way this movie both tributes and pokes fun at the much-maligned Spiderman 3 (2007), it is probably the most hilarious, classiest insult that movie will ever have. 

It is not just about reminiscing on the old Spidermen, but Into the Spiderverse also takes advantage of the comedy to usher in the new generation of Spidermen. It had the difficult task of having to juggle so many characters, so many iconic Spidermen into one narrative. Rare in movies with overarching storytelling of Into the Spiderverse’s kind, it manages to make each and every character stand out. Sure, it’s a movie with main characters and supporting characters. But it’s definitely not a movie where supporting characters are just kind of there. Beyond just a one-punch line-and-then-disappear cameo, the movie actually gives them some form of characterization. It is evident from the unique twist the movie has in terms of revealing the Spiderman back-story. 

Remember the Peter Parker/Spiderman opening narration? It is a storytelling device that the movie keeps coming back to as a running gag. It’s basically them telling the same origin story over and over again, but with a few twists thrown in between, and any time there’s a twist in the tale, it adds a lot to the humor, as well as give each universe’s Spiderman clearer depth and distinction from the others.

In addition to the humor, Into the Spiderverse also wears its heart on its sleeve. After all, it is really hard not to feel some emotion watching a Marvel movie now knowing that its founder Stan Lee had passed. Without spoiling too much of what the late great’s scene is, he provides in this movie undoubtedly one of his most impactful cameos ever since he gave Tobey Maguire’s Peter Parker the advice in Spiderman 3. It’s the kind of cameo that reminds both comic book fans and moviegoers why Stan Lee was more than just the everyday comic book storyteller. He was first and foremost the people’s person. Again, like with his previous cameos, Stan Lee is speaking to a movie character here, but he’s got such a friendly and approachable aura about him that suggests that he is speaking into the soul of each and every audience sitting in the theaters. Stan Lee, you will forever be missed. 

Beyond the Stan Lee tribute, Into the Spiderverse’s main story also rings with emotional relevance. It’s the kind of the story that embodies what comic book storytellers like Stan Lee believed in. In developing a superhero, it should be the human first before the superhero. The things that made people connect with the superheroes aren’t necessarily their superpowers or their perceived invulnerability.  It’s more about how the readers can relate with the human struggle the superheroes go through and their similarly human flaws which keep them coming back for more and more issues. And it’s that more compelling aspect of superhero storytelling that Into the Spiderverse fully grasps. 

What this movie’s main character Miles Morales is going through serves as metaphors on the type of teenage struggles go through in real life.  Even when Miles first discovers his superpower, it is easy to relate to his awkwardness, fear and the many emotions coming in his head, in a way that is similar to a teenager going through puberty. Miles, and perhaps even other characters’, bigger dramatic arc though relates very little to the superhero experience.

It is a movie that tries to stress the importance of family, how the lack thereof can affect one’s own personality for the worst and how one’s acknowledgement of its importance can influence a change for the better. It is not just a message that is apparent in its lead character Miles Morales’ dramatic arc, but it is also an essential part in other characters, one in particular his mentor Peter Parker’s (Jake Johnson) arc. 

On Miles’ perspective, like the everyday teenager, he is a kid who is in need of guidance especially as his body is starting to change. It’s a need that’s made difficult from the lack of a reliable father figure in his life, evident from his difficult relationship with his biological father Jefferson Davis (Brian Tyree Henry). Even when he manages to foster some quasi-father-son relationship with his uncle Aaron Davis (Mahershala Ali) and later the other dimension’s Peter Parker, they’re not exactly the most ideal father figures to help Miles get through his superhero/puberty phase. But it’s these encounters with other characters that somehow help Miles put things into perspective. It is a movie where Miles’ arc can be seen as straightforward as a birth of a superhero type of story, but it can also be seen as something as deep as about a boy’s journey towards understanding his father. 

Like Miles, Jake Johnson’s Peter Parker, his mentor, is another character in need of guidance. Whereas Miles represents youth in his optimistic search of guidance, Peter Parker represents the middle-age era in his pessimistic search of the same thing. Far removed from previous portrayals, Johnson’s Peter Parker here is the definition of world weariness. In other words, to him, all hope is lost and seemingly, there’s no way back. Depressing sure, but it’s easy to relate with Peter’s personal struggle back in his own universe. Despite his superhero status, Peter’s bout with midlife crisis is something that’s really close to home, how a man’s fear of commitment can destroy a marriage and how a lack of self-confidence can result in a person losing passion on the things they’re passionate about. It’s only when he unwillingly takes Miles under his wing when he suddenly rediscovers a purpose in life, which circles back to his arc of trying to get past his midlife crisis. 

Voice acting doesn’t usually get the credit it deserves, but pretty much all the casting are spot on. It is hard to believe that the 17-year old Miles Morales is actually voiced by a 23 year old young man Shameik Moore, which is a testament to Moore’s vocal ability to embody the character. There is never a hint that the character is voiced by an actor more mature, and with every breath, every word, he sells Miles’ awkwardness and innocence. Hailee Steinfeld is also in this movie as Spider Gwen, and, even without having to belt out a note, she’s such a charming young woman to listen to. Gwen Stacy is known in the comic books as Spidey’s most offbeat love interest, and that kind of represents the voice actress’s real-life persona. Her offbeat charm lends a lot to the character’s necessarily offbeat sense of humor. Gwen is amongst the funniest characters, because the voice behind it is too naturally funny. Her playful banter with Miles particularly is one of the movie’s comedic highlights.

Jake Johnson voices Peter Parker, one of the many alternate universes Spidermen in this movie who throughout the movie became Miles’ mentor, and besides Moore, he is the one who gives the all-round more complete performance. A comedian first, Johnson knocks it off the park with the joke delivery, and his Sad Sack tone really helps to sell the character’s depression, so often the movie's source of humor. Yet, it’s also a movie that requires the character to be a sage-like presence, and Johnson does a spectacular job in spraying every word of wisdom with such conviction that it’s borderline inspiring. And nothing is ever wrong when Nicolas Cage is voicing an animated character. As Spiderman Noir, it is a role that allows the actor to poke fun at his intense, over-the-top persona.

CONCLUSION: 

Spiderman: Into the Spiderverse is simply perfection. Its comic book aesthetics lends a lot to the energetic action, trippy visuals and self-aware humor, but more than that, there’s also heart in its parallel of a superhero having superpowers with a teen trying to come to terms with growing up. 

Score: 10/10