The two live-action Spider-Man reboots, which kicked off with The Amazing Spider-Man and Captain America: Civil War, attempted to replicate Uncle Ben’s “With great power comes great responsibility” speech (and its resultant themes) from the Sam Raimi movies. In our ongoing look back at Peter Parker on-screen, we examine what makes his story, and the stories of his successors, work so precisely in Into the Spider-Verse, despite its numerous flaws. Its anchor, however, is Miles Morales (Shameik Moore), a more recent comic character tasked with taking up the identity of Spider-Man from Peter Parker, a mantle whose meaning the film places in its crosshairs (and in some ways, transforms), resulting in a Pop Art-inspired sequel of sorts to the Sam Raimi trilogy. The story features not one, but two versions of Peter Parker - three if you count Spider-Man Noir (Nicolas Cage) - and a grand total of seven interrelated Spider-people from various corners of Marvel media. Into the Spider-Verse is, arguably, already the gold standard for a wave that’s still young, of superhero movies steeped in multiverse crossovers, though what works best about it isn’t simply that it ropes in recognizable iconography, but that it understands its weight.
It not only pays homage to older versions of the character, but paves the way for future entries, like the alternate universe-centric Spider-Man: No Way Home. An animated movie that combines new and old in both its narrative and aesthetics, Spider-Man: Into the Spider-Verse is a unique pit-stop between two live-action Spider-Man films.
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