Spider-Man: Into The Spider-VerseReviewed By Rob Gonsalves
Posted 04/10/19 14:52:58
(Worth A Look)
There are times when the mostly rightly-acclaimed "Spider-Man: Into the Spider-Verse" is a bit much — mainly towards the end, because the movie is also a bit long. I can’t get mad at it, though.Its too-muchness is almost all creative; it has an abundance of ideas, invention, color, visual and verbal wit. It’s an overflowing package — I would say “generous,” except that at a certain level of corporate involvement, the word has a whiff of panem et circenses. Due to cross-marketing synergy, the soundtrack is spangled with recording artists from the 2010s; future generations of movie-lovers, if any, may smirk at the film and tweet “OMG #so2010s,” the way ‘90s movies are now pegged immediately by the presence of the Wallflowers or No Doubt.
Until its shoulder touch becomes a little grating, Spider-Verse is good raucous fun — fluid and fast, though swollen with incident. If nothing else, it’s a wet finger held up to the winds of where animation is now, technically. The movie keeps up a constant visual whiz-bang that would have been unimaginable, and maybe neurologically unreadable, twenty years ago. (And 1999, you’ll remember, gave us the visual game-changer The Matrix.) The animation here is used for its nearly endless potential to deliver images, sequences, transitions impossible in live action. Some of it continues techniques the Fleischer brothers were using a hundred years ago; some of it pushes the lateral editing of Natural Born Killers forward a few steps. Spider-Verse is the present and future of its medium, and it was rightly awarded at the Oscars accordingly.
The technical flourishes help to sell the story, which really couldn’t be told as easily in live action. We’re in Manhattan, or Sony/Marvel’s Manhattan, where Spider-Man exists but Iron Man and the X-Men don’t. (Don’t ask.) Peter Parker (voice by Chris Pine) wears the spider-suit, swinging around and fighting crime. He’s been at it for about ten years — he’s 26 now. Fortunately, teenager Miles Morales (Shameik Moore) gets bitten by a radioactive spider himself, and gains many of Peter’s same powers plus a couple all his own — he can turn invisible and zap his enemies with electricity, though he can’t yet control those things. Spider-Man’s adversary the Kingpin (Liev Schreiber) wants to open a portal to other dimensions, and his experiments, led by Olivia Octavius (Kathryn Hahn), pull a bunch of alternate-universe Spideys into Miles and Peter’s realm — Spider-Gwen, Spider-Man Noir, Peni Parker, an older Peter Parker, and, last but not least, Spider-Ham.
The nice thing about Spider-Verse is that a viewer young or old can come to it pretty clean of prior experience with Spider-Man. All the alternate Spideys are from the comic books, but you don’t need to have read any of them — I haven’t — to enjoy the characters here. Each Spider-Variant’s origin story is recounted in quick, nimble shorthand, and you get a sense of each one’s personality and demons — they’ve all suffered bereavement of some sort. Even the Kingpin, rendered as a white monolith inspired by artist Bill Sienkiewicz’s expressionist take, has a motive grounded in grief: his blameless wife Vanessa and son witnessed him beating up Spider-Man, fled, and died in a car accident. The Kingpin therefore wants to access universes in which his wife and son are still alive. Another villain, Prowler, turns out to be more sympathetic than we first assume. Marvel’s super-foe roster is generally full of bad guys/girls who aren’t evil for the hell of it — they have tragic flaws.
All the Spider-People join forces to defeat Kingpin and his minions, and in the resulting whirligig of action some of their individuality gets lost. It’s ultimately Miles’ story — I suppose we need to thank the superhero genre for creating a context for a young hero of African-American and Puerto Rican extraction. (Without the superpowers Miles would probably be the protagonist of an indie flick you’d have to drive into the big city to see.) Spider-Verse is inclusive and welcoming of diversity; its wildly divergent heroes get along, united by their similarities of origin and skill set. It is everything a specific, noxious breed of sexist, racist, humorless alt-right fanboy despises, and its success should be celebrated on that level. As for me, I’m glad I saw it, I might revisit it in the proper mood, and I admire it as a glistening piece of pop art. But its corporate pizzazz chills me a little.A good way to milk a franchise for even more sequels and crossovers and merchandise than would normally be possible is to introduce alternate universes into it. Suddenly you have much more licensable content, and if an actor wants more money for a sequel, you just bring in an alternate version of the character for a less pricey actor. With great power must come great responsibility to the shareholders.
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