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Spider Man Into the Spider Verse animation – Jake Johnson – critic

Spider Man Into the Spider Verse animation

The sweet litany of saying that superhero movies all look alike, or that they forget their fundamentals in favor of an infertile and digitized spectacularity, has just been undermined by this new Spider Man Into the Spider Verse animation which turns out to be a real breath of fresh air in the genre sphere. However, the bet was not won in advance, Spider-Man being a superhero who has been seen in movies time and time again.

Spider Man Into the Spider Verse animation critic

Either through Sam Raimi’s excellent trilogy, Marc Webb’s disastrous diptych, or lately through Marvel’s bleached teen movie humor. We know his story by heart. So what does this umpteenth adaptation of Spider-Man bring us new? Lots of things so to speak. Rather than putting Peter Parker at the center of the film, like all of the previous Spider-Man films, we star teenage Miles Morales bringing a new level of emotion to the franchise that we’ve never seen before. Unlike Peter Parker, Miles is more family oriented, especially with his uncle and father.

Spider Man Into the Spider Verse animation is one of the best transcriptions of the Spider-Man universe and one of the most psychedelic and colorful films we’ve seen since Speed ​​Racer of the Wachowski Sisters. Moreover, this last reference is not in vain because most of the themes contained in the feature film and the liberated spirit that stands out from the work resemble the harshness of the two directors: tolerance, sharing, redefinition of genres, the weight of responsibilities, the fact of being defined by the choices we make, the benefit of the community, knowing that we are not alone in a difficult world, and the connection between the dimensions. So we think of Matrix, Speed ​​Racer, Sense8 and Cloud Atlas. And it’s beautiful.

Finally, we have a superhero film that appropriates its own mythology, tries to redefine its dimension and characterization, and has fun on its own with a meta discourse by referencing its old film adaptations without necessarily make it a humorous guarantee as Deadpool does with more or less ease. As our friend WeSTiiX recently wrote, in his excellent article which questions the place of the human in superhero films, this cinematographic genre currently has this unfortunate tendency to want to deify the being that is the superhero to forget his part of humanity. The latter, being transcribed as a simple shapeless, impersonal tide that must be saved by the new divinities that these supernatural beings have become.

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Except that Spider Man Into the Spider Verse picks up where works like Sam Raimi’s left off. Do not see the mask or the power as a way of feeling less human, but on the contrary to show the costume as an extension of our humanity, to define its story around intimate patterns and to set up issues that affect the human behind the mask. The storytelling is not limited to the simple fact of being an initiatory tale that sees its protagonist rethink himself and fight the obstacles of life, no, Spider-Man New Generation goes further than that and inserts in his dressing the he idea that we are nothing without others, that power is a whole and not a simple gift, as Steven Spielberg’s Ready Player One had insinuated.

Here, for example, it is not just about a villainous villain who wants to destroy in order to destroy, but it is about the despair of a man who wants to find his dead wife and son. As in the adventures of the spider-man in Sam Raimi, there are also a lot of ideas for cinema, and what better than animated cinema to free yourself from certain aesthetic barriers and to monopolize the medium of comic strip with constant inventiveness. A live movie could not have given this epic breath, probably could not have mixed its atmosphere with that of the comics, or wowed us with this dantesque final climax.

Beyond its message, which describes the costume as a torch that is perpetuated and that can be worn by everyone, it is therefore also the graphic style that raises the film a notch above the fray, endowed with a frenzied montage, invigorating textures, and a rare dynamism that pays tribute both to the power of superheroes and to this protean city that is New York. There is this feeling of freedom, where the film has this ability to make us feel the gravity of our superhero’s flights, his ease of using the air to see him twirl, strike, be himself and use his full power.

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Spider Man Into the Spider Verse animation does not choose sides, unlike Marvel or DC Comics: it is a film that intelligently captures the emotions of its characters, and their moral integrity. Oddly, while many blockbusters or big franchises, like Star Wars or Alien, rely on the deconstruction of the myth, with this incessant motive to destroy in order to be born again, Spider Man Into the Spider Verse uses, him, this slope in an idea of continuity, of universal extension.


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