Spider-Man: Into the Spider-Verse Movie Review (In Detail)

Spoilers Alert:

In SPIDER-MAN: A NEW UNIVERSE The focus is not just on a single superhero, but rather on multiple embodiments of the same character. But what else can the film do other than be a two-hour meta-commentary on the Marvel Universe? We reveal more about this in our review.

The Plot Summary

Teenager Miles Morales lives a completely normal life in Brooklyn until he is bitten by a mysterious glowing spider during a night-time graffiti foray underground. From now on he has the powers that he believed only his favorite hero Spider-Man had – and he died in a dramatic incident just a few days ago. While Miles tries to come to terms with his new abilities, strange things happen in the city: A kind of portal has opened in the middle of Brooklyn, through which various spider people from all possible universes are brought together – including Spider-Man Peter Parker, who was believed to be dead . Together with Spider-Gwen, Spider-Man Noir and a few other bizarre comic characters, Miles does everything he can to transport each of them back to their respective universe, close the portal and put an end to the villain Kingpin forever.

Movie explanation of the ending

Not only do the films within the Marvel Cinematic Universe jump happily through the genres from entry to entry, the brands that have (still) been outsourced to other studios have also stood out in the past by offering a little variety to the standard superhero variety. For example, “Deadpool,” the first R-rated superhero film from the birthplace of the Avengers, was released under the banner of 20th Century Fox. And “Logan”, in its dark, romantic Western aesthetic, didn’t correspond to the usual current popcorn entertainment. Sony Pictures didn’t show quite as much courage in the middle of this year: While “Venom” was originally intended to be an at least equally tough anti-hero film, the parasitic Tom Hardy was ultimately only released to viewers in a less than satisfactory PG-13 version. The result wasn’t a complete catastrophe, but it still fell far short of its potential. That can no longer be said for the latest Marvel production from Sony with the best will in the world: Anyone who thought that the company had already done enough work on the friendly neighborhood spider in recent years will be informed by directors Bob Persichetti, Peter Ramsey (“The Guardians of the Light”) and Rodney Rothman with “Spider-Man: A New Universe” is better, because there simply hasn’t been a film like this before.

Peni Parker, Gwen Stacey, Spider-Ham, Miles Moralis, Peter Parker and Spider-Man Noir.

“Spider-Man: A New Universe” is based on the “Spider-Verse” event from 2014, which mentions all incarnations of the Spider-Man character and which includes, among other things, the five-part comic book series “Edge of the Spider-Verse”. heard. Each volume introduces a different embodiment of the well-known Spider-Man hero, who play an important role in the subsequent seven-volume adventure “Spider-Verse” and must team up to defeat a powerful enemy. At least in terms of the basic idea, the event was the inspiration for the film: Here, different Spider-Man variants meet each other to fight against an overpowering (and unfortunately very interchangeably motivated) villain. At the same time, “Spider-Man: A New Universe” is, at its core, a much more conventional hero story than the absurd-sounding premise suggests. With Miles Moralis, the film has a clearly definable protagonist. Peter Parker as the “classic” Spider-Man who has left his prime behind him takes on the task of mentor, Gwen Stacey, Spider-Man Noir, Peni Parker and Spider-Ham are sidekicks; no less, but no more either. Of course, the composition of these tonally completely different Spider-Man variations alone contains enough fuel for meta-humor and self-reflection. But after the initial surprise and the joint exploration of the individual advantages and disadvantages of the individual characters, the allusions and meta-gags level off at the solid level of “The LEGO Movie”, in which the makers unfortunately rely on the strange ones early on The premise alone will probably be funny enough. At the same time, it should be noted that fan service is offered, especially in the details, for example with regard to the appearance of well-known characters, which (rightly) makes fans’ hearts beat faster.

The comparison with “The LEGO Movie” is of course no coincidence: The “LEGO Movie” masterminds Phil Lord and Christopher Miller were responsible for the production and parts of the script for “Spider-Man: A New Universe”. As you know from the two of them, “Spider-Man: A New Universe” is full of creative ideas at every turn – and at the same time it too often rests on its laurels. As amusing and clever as the interaction between the Spider-Man characters may be, the authors add little variation to the actual story. Because despite a very memorably staged, emotional bang at the beginning of the film, in which Spider-Man is not only killed in front of the viewer, but his death is even mourned by the entire city, the makers return to tried and tested territory far too quickly. The well-known credo can do that “With great power comes great responsibility!” No matter how much tongue in cheek it is, in the end this film takes it more seriously than any other film before it. On the one hand, this is remarkable because, despite the obvious nonsense that is clearly the focus of “Spider-Man: A New Universe,” those responsible never lose sight of the origin of the comic universe. And yet the film sometimes feels like a sham, because the variation in the material only happens on a superficial level, but essentially you’ve seen it all dozens of times – just without being presented with a new meta reference every three seconds.

Spider-Man must (once again) face an overwhelming opponent…

Speaking of surface: What clearly sets “A New Universe” apart from previous “Spider-Man” screen adaptations is, of course, its appearance. Borrowed one-to-one from the internal and external logic of a comic book (and also from the stylistic history of the original) and brought to life in an elegant way, this film is the quintessence of what you will probably think of in the future when you talk about it a comic was made into a film. By the way, this has both advantages and disadvantages: If thought bubbles and the onomatopoeia of crashing noises are integrated into the world as a matter of course, this often results in (visual) humor alone; Every now and then pages are turned or the camera zooms out of the scenery until you realize that everything is just happening in a comic. It is the attention to detail and the precise knowledge of the medium to be adapted that make Lord and Miller such masters in their field of staging. On the other hand, the overall optical quality is less successful. The characters’ movements appear choppy and the image is designed so much for the 3D effect that the foreground and background are clearly separated from each other in the 2D version, which always results in drastic blurring. The score by composer Daniel Pemberton is also comparable to his previous compositions (“King Arthur: Legend of the Sword”) a disappointment. His theatrical orchestral compositions meander somewhere between noisy and interchangeable – you won’t find his energetic, clearly structured signature here.

At the same time, this musical pulp also fits very well with the scenes in which it is used. “Spider-Man: A New Universe” doesn’t just elaborate a spectacular showdown (there is that too, don’t worry!), but also delivers several cracking action set pieces, all of which are, or better: could be, of different quality. The problem: While they all differ very clearly from each other in structure and execution and the makers can give free rein to the strengths of their creativity, which is virtually unhindered by the stylistic device of animation, in the end everything always ends up being edited in a way that is both hectic and unrhythmic and bright Colored hysteria explosion, which is sometimes so confusing and noisy that it even requires an epileptic warning. In the comic, a lack of clarity isn’t the problem; Here everyone can stay on the corresponding strip at their own discretion until they have recorded all the details. In film form, however, this style floods the viewer with seemingly endless stimuli. Some will love exactly these charms, others will hate them – both are understandable.

Miles Moralis flies through the night…

Conclusion: “Spider-Man: A New Universe” is a superhero story that has been put through a meta-meat grinder and will make audiences’ eyes light up when it is staged – either because they are happy about everything that is on offer or because their synapses are broken crack through.

“Spider-Man: A New Universe” can be seen in USA cinemas nationwide from December 13th – also in 3D!

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