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Production

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  • First and foremost, the animation is nothing short of astonishing. Everything from the lighting, to the uniquely low framerate, to the usage of classic comic book art tropes make for one of the most distinctive animated movies in years. Many have pointed out that this is literally what it should feel like to have a comic book come to life on the big screen.
    • A frame-by-frame analysis of the film shows just how much thought was put into to the film's animation techniques. Generally, when animating a scene, you'd do everything either "on the ones" or "on the twos"note  Into the Spider-Verse does something unheard of in film, but perhaps familiar to those versed in 2D fighting game animation, by having most CHARACTER movements done on 2s while the CAMERA movements are all animated on 1s. But Wait, There's More! Even though characters will usually only change once every two frames, that held image is still moved/shifted for every single frame along with the camera. That's not even getting into things like characters in the same shot animated on alternating 2s or ways motion blur is "faked". What you end up with is a style that allows for distinctive character movement while still allowing for expert communication of high-speed action and impact. Just reading about all the work that was required to pull this off is inspiring. To quote CellSpex, "This is more than just a living breathing comic book. This is a celebration of animation as a medium."
      • Most poignantly, this variable animation is used to show Miles’s growth. For most of his scene throughout the movie, most notably the Alchemax Escape, Miles himself is animated at 12 frames per second, while Peter B and the other spider people are animated at 24 frames. This makes the “What’s Up Danger” sequence even more important, as that’s the moment where Miles starts to be animated at 24 frames per second.
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    • Then you have the fact that each Spider is in a different animation style. While Miles, Peter, and Gwen all share a fairly similar cel-shaded look, Peni Parker and Sp//dr have a more anime aesthetic, Spider-Ham goes for a more cartoony Looney Tunes style, and Spider-Noir is homage to black-and-white noir detective movies. Each of them maintains their unique art-style throughout while smoothly interacting with everyone else, both in character moments and fight scenes.

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Trailers

  • The big moment in the initial teaser trailer, which turns out to be one of the film's climatic moments, is Miles going for a swing. While we've seen this before, it's never been quite so stylish. The best part is the upside-down shot of him descending toward the ground in slow motion, which serves as the page image.
  • The end of the first trailer gives us a surprise character: Spider-Gwen!
    • Also how she introduces herself: She catches both Peter and Miles off-guard and then lands nearby on a tree branch using an en pointe ballet pose with her feet - which takes skill - instead of the traditional superhero landing.
  • The final trailer gives us the rest of the Spider-People, including Spider-Man Noir, Spider-Ham, and SP//dr.
    • Also, above and beyond for the already outstanding animation, those three universe-shanghai-ers have their own art styles. Noir is more starkly shaded, to the point that he seems to be purely black and white, Peni Parker and SP//dr are both in an anime style, and Spider-Ham is colored simply and drawn like a Saturday morning cartoon. It would have been so easy to just keep them all consistent with one art and colouring style, so the variance shows immense attention to detail.
    • It recreates some famous moments from the Raimi trilogy. The upside-down kiss from Spider-Man and the train scene from Spider-Man 2. They also did the cafe scene from 2 only for Pete to turn around and smack the car away, before conversing back with MJ!

The Film

  • Miles' Peter Parker establishing the one thing that defines Spider Man: he always finds a way to get back up.
    • This crosses over as heartwarming if one interprets that Miles' eventually taking up the mantle is Parker's posthumous way of getting back up once more.
  • A relatively small moment, but the teacher being discerning enough to figure out that the only way Miles could've failed a true-or-false test is purposefully. A lesser teacher would've taken it at face value that Miles was a hopeless student. But this teacher? She makes the deduction that whilst a blind-folded person would probably get at least half the answers right on luck alone, Miles got all the answers wrong because he knew all the right ones.
    Miss Caleros: If a person wearing a blindfold picked the answers on a true or false quiz at random, do you know what score they would get?
    Miles: Fifty percent?
    Miss Caleros: That's right! And the only way to get all the answers wrong is to know which answers are right. (changes score from zero to one hundred percent) You're trying to quit. And I'm not going to let you.
    • This is also an awesome moment for Miles because this shows that he is smart enough for that school despite the previous montage scene making it look like he's cracking from the pressure he got from it earlier and his insistance he only got accepted into the school because of a scholarship lottery.
  • Spidey 1610 saving Miles from an oversized Green Goblin and Spidey 1610 vs The Prowler. These both occur in the same action beat during the initial confrontation at the Supercollider, and they expertly convey the speed, power, and dexterity of Spider-Man in a way that even the live action Spider-Man films haven't quite achieved. It's the first major action beat in the movie, and an excellent tone-setter.
    • Special mention to Spidey 1610 getting kicked behind a giant turbine by the Prowler, before catching it with one hand and holding it at bay, then slinging a web at Prowler's chest to yank himself back out.
  • Peter B. Parker's casual control over his powers, especially when it's contrasted with Miles.
    • The scene where Miles first interrogates Peter is worth noting. While Miles is more than a little distracted by finally having a potential mentor, Peter is able to escape his bonds without even trying.
    • He then proceeds to jump up and spin-kick the punching bag, sending Miles flying against the wall. Not bad for a jaded washout. Note that just before he does the spin-kick, he had been hanging on the punching bag, and the ropes didn't fall while he was talking, meaning he was using his sticking powers on his body and back to hold himself and the ropes up, all just to show just how on top of his game he actually is.
    • The break-in of Alchemax is a particular testament to Peter B.'s competency. In any lesser movie, the downward spiral he's caught himself in would've likely completely destroyed any credibility he'd have as a superhero and turn him into a massive Broken Pedestal. Instead, it's shown that Peter is still quite the competent superhero whose plan only derailed because he had Miles to take care of, the unforeseen presence of Doctor Octopus, and an attack of dimension phase glitching. And while it's played for laughs, the scene definitely demonstrates how savvy and attentive he is to details, managing to figure out a password despite it being hidden and read off a window reflection. Also adding to this scene is that Peter does it rather casually while Miles is just lost because this is his first time dealing with super villains. All the while Peter picks apart literally everything and makes witty jokes all the while. He may be more cynical and a bit depressed, but there's still some of the class in the Parker we know and love.
  • The reveal of Spider-Gwen, dropping in at the last second to web up Miles and Peter B. to keep them from falling, fighting off Doc Ock AND retrieving the stolen computer singlehandedly, and all without seeming to break a sweat.
  • Doc Ock's reveal -out of nowhere, because Sony hadn't previously even given so much as a hint that any version of one of Spider-Man's most infamous foes was going to be in this movie at all- is widely acclaimed as one of the best parts of the movie and one of the greatest supervillain introductions ever. Peter is attempting to charm the ditzy, spacey scientist girl to buy time for Miles to get the data they need off her computer and she's geeking out over Spider-Man not only being still alive but right in front of her, casually shoving Peter into a restraint chair in her overwhelming enthusiasm to study him. Then she diagnoses the cause of Peter's glitching, estimating that he will soon disintegrate completely, in horrible pain- and she can't wait to watch it. A few seconds too late, Peter asks her what her name is and she calmly pulls off her glasses as she answers "Doctor Olivia Octavius". Her coat hits the floor, revealing her skin-tight combat suit, the tentacles snake out of her back, she ties her hair up and a tentacles puts her goggles on as Doctor Octopus suddenly materialises in the movie and on everyone's list of favourite characters.
  • The fact that the Doc Ock in Miles' Universe has tentacles made from soft robotics! An impressive attention to detail on the story's part, giving a feel as though the tentacles came from a non-too-distant future. What's more, the tentacles having a softer exterior means they are lighter and maneuverable.
  • Doc Ock returns from her failed attempt to catch Peter and Miles, and is met by Kingpin and Tombstone. Tombstone pulls his guns on her, and, without looking, she catches him in her tentacle. Then she raises herself up to Kingpin's level, looking him in the eye, and telling him that the presence of three more Spiders is just proof positive that her Collider works. All the while, Tombstone is still trying to aim at her, and she pays him no mind. To his credit, Tombstone holsters his guns after a nod from Kingpin, and seems none the worse for wear, despite Ock holding him by the throat.
  • Aunt May is no slouch here. She readily defends her house when Kingpin's goons come to attack, fighting alongside the Spider-People. With a baseball bat.
  • It's a huge Tear Jerker, but the fact that it's Spider-Ham of all the characters that provides us with one of the film's poignant lines ("Miles, the hardest thing about this job is... you can't always save everybody.") counts as this.
    • Kudos to the filmmakers on this one too. Originally there was going to be a line where Spider-Ham tells how he lost his Uncle Frankfurter, but while the filmmakers thought it was funny, they decided it was too inappropriate and ruined the emotions of the scene, so they replaced a hilarious yet unsuitable line with basically one of the most poignant, deepest, and sincere pieces of dialogue. Therefore not only did the line kept the mood of the scene on focus, but it also provided Spider-Ham with some good Hidden Depths.
  • Miles faces his Darkest Hour, abandoned by the other Spiders for his inexperience and basically told by Peter B. Parker that he's just not ready. Webbed up in a chair with his mouth stuck shut, he can only listen to his father's heartfelt talk about being proud of him and thinking there's a spark of greatness inside him. That speech from his father cuts through the doubt and hesitation in Miles' heart. He closes his eyes. . .and Spider-Man opens them.
  • As Miles is finally ready to take up the mantle of Spider-Man, he heads to the Spider-Cave, which opens up for him without him even touching it. As he descends, he sees Aunt May waiting for him:
    May: Took you long enough.
    • Clearly knowing that Miles would be ready sooner rather than later, Aunt May gifts him his own webshooters (that she made herself!), commenting that they "fit perfectly", with a knowing wink. Then Miles runs across the city, with the now iconic moment of him jumping off the skyscraper and swinging up at the last second. After getting a feeling for everything, succeeding in all the locations he utterly failed earlier in the film one by one (swinging through the streets, flipping off a flagpole, jumping across two buildings), he looks over to Kingpin's gala and swings towards it. Like the other Spider-Heroes who had comics of their histories shown throughout the movie, Miles' own comic is finally placed on top of the pile, signaling that he's finally ready to accept his role as a hero.
    • Throughout the movie, it was established that Miles needs to relax in order to unstick from a surface. Keeping that in mind, some of the glass breaks off and comes with him when he takes his leap of faith. Miles is still terrified out of his mind, but he knows he can't stop running and that this is something he has to do, making the scene all the more powerful.
    • The scene is essentially perfect. The breathtaking cinematography, heroic remix of What's Up Danger, and incredible animation all combine to form such an emotionally resonant sequence. It pulls off the concept of a superhero origin story where a hero accepts and embraces his destiny after showing how hard it was to get there, and takes it flying towards the climax.
    • It's really blink-and-you'll-miss-it, but during this sequence you can notice the citizens of New York, some very subtly some very blatantly, noticing Miles sailing through the air with authority, the most obvious reaction being the people in the office building with one lady dropping a plate in shock. After mourning the loss of their Peter over the course of the movie, the people of New York have a Spider-Man again.
      • Also powerful in that, in this particular world, super-powered shenanigans seem normal. For example, when Miles and Peter are being dragged along by a train by the web, nobody even looks up. So what, more people with superpowers. But when the new Spider-Man swings by? You better believe they're going to pay their respect by looking at him.
      • Imagine you're one of the New Yorkers who we see pausing and looking up while Miles is doing his leap of faith. You see someone falling from the tallest building in the city, flailing uncontrollably through the air, and your heart leaps into your throat. Oh, god, no is the thought—you're seeing a suicide, you're certain, and there's no Spider-Man to swing in and rescue them. But then... but THEN, the figure stabilizes, shifting from wild flailing to a controlled dive, and you notice the eyes of the mask. And just as realization hits... WEBS come sailing out of his hands, anchoring him to the building, and he swings away. The torch has been PASSED. There is a Spider-Man of New York again!
    • The stage direction from the screenplay puts it wonderfully:note 
      Miles walks to the edge of the roof, wind buffeting...and LEAPS! The camera is upside down. Miles isn't falling through the frame. He's rising.
    • Before any animation work was even started, the FIRST thing shown to the animators was a rough storyboard of this scene, a surprising amount of which made it to the final movie intact. The entire film was literally made around this scene. And it shows.
    • If you listen closely to the music, it has a mixture of the Prowler's theme, Miles' heroes theme, but also a mixture of hip-hop. Aaron was right, Miles really is the best of all of them.
  • The first time in the Spider Cave when Miles looks at the Spiderman outfit, he's looking at it from below, his eyes filled with a sense of awe and nervousness. But the next time he looks at the suit, he's looking at it with confidence and the eyes of the costume match up with the reflection of Miles' eyes.
    • Makes the next moment when he spray paints the outfit all the more special, because he's going to be his own Spiderman.
  • One of the Running Gags in this film is that every time a Spider-Person is introduced, we get, "Let's do this one last time," plus an intro montage; at the end, a comic book is added to the pile with that character front-and-center. At the end of Miles' acceptance of the mantle, one final book lands on top of the pile. No voice-overs, no jokes, no music, no montages, no nothing: just Miles Morales, bona fide Super Hero. Spider-Man is back.
  • The whole final showdown with the Spider-People against Kingpin and his goons in the Super Collider.
    • A fully suited-up Miles does his Big Damn Heroes moment:
      Peter B.: Miles?
      Doc Ock: Spider-Man?
      [Miles decks her in the face]
    • Spider-Noir gets into a fist fight with Tombstone and handily pummels him down, all while throwing out old-timey insults. This is no small feat, since Tombstone's superpower is having unbreakable skin capable of tanking high-caliber bullets at point-blank range.
      Spider-Noir: Is that all you got? You gonna fight or you just bumping gums, ya hard-boiled turtle slapper? (Webs up a car and slams it over Tombstone's head)
    • Peni and Spider-Ham probably have the best moments here. Scorpion brutally destroys Peni's mech and has her right where he wants her. That's when Spider-Ham comes to her rescue... by using an Anvil on Head gag. Then Scorpion makes the mistake of mockingly calling him a cartoon. Ham then lays it on him, combining Toon Physics and Spider-Gymnastics to dominate Scorpion, even clubbing him with a cartoon mallet, which then leads to Peni's moment: clubbing him with her mech's disembodied arm with a mask of absolute fury. Pint-Sized Powerhouses indeed.
      Spider-Ham: Awww, did THAT feel like a cartoon? [blows a raspberry]
    • Amid all the chaos, Miles manages to do the something that Spider-Man has traditionally failed to do: save Gwen Stacy.
    • Gwen, Miles, and Peter all landing punches on Doc Ock in quick succession.
  • After Doc Ock has been defeated, Miles steals the goober from Peter B. and does a series of flashy jumps and flips to get to the collider's console (prompting Peter B. to say "We taught him that, right?" and Gwen to respond "I didn't teach him that. And you definitely didn't."), his movements are a close mirror to blonde!Peter's series of jumps to get to the same console right after he first meets Miles. Even the musical motif that plays is the same. He didn't learn those moves from Peter B. or Gwen, he learned it from his own Peter Parker.
  • The climactic fight between Miles and Kingpin. Kingpin gives him a No-Holds-Barred Beatdown, only for Miles to rally after seeing his dad watching in horror and begging for him to get up. Miles gets up, places his hand on Kingpin's shoulder and say "Hey", venom-striking him and throwing him into the button to shut down the collider.
    • The shoulder-touch move is essentially Uncle Aaron's posthumous retribution against Kingpin.
    • For all other Spider-People, their first gig as a superhero was maybe beating one super bad guy. Hell, OG Peter Parker's first adventure was hunting down an ordinary human robber. What's Miles' first gig as his universe's Spider-Man? Fighting Doc Ock, then later the Kingpin amidst a chaotic vortex of space-time distortions, and saving multiple dimensions by himself. Beat that with a stick.
    • Capping this off is that Kingpin is later revealed to be alive, strung up with webs and sporting a note on his chest saying "Courtesy of your friendly neighborhood Spider-Man". It's a signature no other superhero can claim, showing that Miles has truly embraced the role.
    • Miles glimpses headlong into the Spider-Verse itself as the collider deactivates. We know this as we’re treated to an extended shot of countless web-like nebulae zooming toward us, intercut with a wide-eyed Miles with the same image across his mask, sheer awe overtaking him. Peter Parker recieved much the same image earlier and reacted similarly, but it isn’t until now that Miles and the audience see it.

Meta

  • For fans of Miles Morales' Spider-Man. Miles Morales Spider-Man starring in a cinematic movie of his own? As the main character and not a side one? Awesome! Not to mention a long time coming!
  • A keen eye can spot the suit from Spider-Man (PS4) during the third trailer. The game had been in development while the film was being finished. The Spider Verse is grand and ready to be explored with other spider-symboled people.
    • Although in the movie itself it turns out that this was one of Peter Parker's alternative suits, rather than one belonging to an alternate Spidey.
  • Both Awesome and Funny, but they actually released a Christmas album for the movie, not only including "Spidey Bells", but other Christmas songs sung by some of the cast.
  • Sony Pictures Animation having nerves of steel to feature not only somebody dying on-screen, but also from a gunshot. It's not every animated film that has that sort of courage, but it's a bold move to enrich the story with a strong sense of loss, rather than simply sensationalizing it.
  • The movie has a stunning 97% approval rating on Rotten Tomatoes, as well as an 8.6/10 IMDb score. It's the most acclaimed Spider-Man movie of all time! And it's not live-action, doesn't star Peter Parker as the main webhead, and is incredibly self-referential, both to the comics it was based on, and prior movies. Truly a milestone for the franchise!
    Rotten Tomatoes critics' consensus: Spider-Man: Into the Spider-Verse matches bold storytelling with striking animation for a purely enjoyable adventure with heart, humor, and plenty of superhero action.
  • After years of adaptations pigeonholing Peter in his high-school and college days, this movie manages to fit two Truer to the Text versions of the character into a film where neither of them is even the lead. Seeing two grown-up Peters, both of them experienced superheroes in love with Mary Jane, is a definite breath of fresh air.
  • While many superhero movies fail when they try to use more than two major villains, by failing to balance them or give them time to shine, this movie has THREE interesting and at least moderately well-rounded villains (Kingpin, Prowler, and Doc Ock), with three more that work well as extra muscle (considering that this movie also has three major protagonists in Miles, Peter B, and Gwen, as well as a major supporting protagonist in Jefferson Davis) it shows just how good the writing was that it didn't fall apart as an over-stuffed mess.
    • Bonus points for arguably giving us a version of the Sinister Six, even if (at most) only four of them are active together at any given time:
      • Big Bad Wilson Fisk/The Kingpin
      • The Dragon Tombstone *(presumably Lonnie Lincoln, though he's never referred to by his real name, and only once by his code name)
      • The Brute (Green?) Goblin (probably a version of Norman Osborn, since 'Peter A' calls him "Norman" during their fight)
      • Later, the Scorpion takes on the role of 'the brute'
      • The Evil Genius / The Dark Chick Olivia Octavius/Doc Ock
      • Sixth Ranger Traitor Aaron Davis/The Prowler (Seeing as he refuses to kill his nephew and dies for it, otherwise he'd probably count as a Psycho for Hire)
  • And speaking of Doc Ock, in the midst of all the deep cut references to comic characters, they also had the guts to create an entirely new version of one of Spidey's most popular adversaries (granted that the idea of a female Doc Ock can be traced back to Carolyn Trainor during The Clone Saga), who has been nigh-universally embraced as one of the all-time best renditions of the character just based on this film alone.
  • The fact that Nicolas Cage has voiced both Spider-Man and Superman in the same calendar year also deserves a mention.
  • The film won the Golden Globe for Best Animated Feature — the first comic book film to win any major (non technical) award from the mainstream film establishment. And against some serious competition, to boot!
  • As expected, Spider-Verse got nominated for the 2019 Academy Awards for Best Animated Feature... and won! Making it the first film to win in seven years that wasn't a Disney or Pixar film.
    • And keep in mind it was pitted against the likes of Pixar's Incredibles 2 and Fox Searchlight's Isle of Dogs, and it came out on top! Not bad for Miles Morales' first film.
  • Not long after the film's release, the production crew's social media began flooding with concept art, explanations behind animation techniques and were even allowed to post the entire screenplay online. With how awesome and unique the film's artstyle and animation is, you just know that everyone involved understood that enthusiasts and/or aspiring artists/animators were going to be looking to this film for inspiration. And they're kind enough to indulge.
  • While it didn't have a huge opening weekend ($35 million), this movie has managed to have incredible legs and quietly go on a box office tear. It managed to surpass Mary Poppins Returns' domestic and worldwide totals despite it opening to $58 million in its first weekend. It stomped Bumblebee's domestic total by over $50 million but didn't meet its foreign total. The movie managed to stay in the top five domestic movies for seven weeks and eight weekends despite stiff Christmas competition from both the two aforementioned movies and the billion-dollar juggernaut of Aquaman. It even managed to "leggier" than Aquaman, Spidey's domestic total was 5.29x its opening weekend while Aquaman 's total was 4.6x its opening weekend.
  • The Utah Film Critics Association chose Into the Spider-Verse their pick for best film of 2018. Not just the Best Animated Film. Best Film, period. The Animation Age Ghetto is weakening ever so slightly.
  • In the 17 years since Spider-Man made his film debut all the way back in 2002, no Spider-Man has ever swung in a completely finished NYC skyline, as the World Trade Center was destroyed in the 9/11 attacks just one year before Spider-Man 1 made its debut. Miles has the honor of being the first ever Spider-Man to swing in a finished NYC skyline in cinema.
  • The movie was also nominated for a Razzie Redeemer award. Sony Animation goes from releasing the first animated film to win the Worst Picture Razzie to being nominated for a redemption award!

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