In the film he is contrasted with Peter B. Morales makes the qualities one normally associates with Spider-Man seem fresh while remaining true to the character's original heart. There are crucial differences between Morales and other traditional Spider-Men, of course, namely in that his family is still alive, he inherits his Spider-Man mantle by having it passed on to him by a murdered previous Spider-Man and he isn't white (Morales is African American and Puerto Rican). Miles Morales (Shameik Moore) is the closest to the Spider-Man archetype we normally see in the first film in a "Spider-Man" series: He is an intelligent, idealistic teenager with a puckish streak and an endearing awe at his newfound superhero status.
Spider man into the spider verse villain movie#
The neat gimmick in this movie is that, by having multiple iterations of Spider-Man appear from a number of alternate universes, audiences are able to see different interpretations on the same basic character themes. Like any great "Spider-Man" movie, "Spider-Man: Into the Spider-Verse" works because of its complex and relatable protagonists and memorable villains. This prompted me to do two things: Analyze what made this movie so great, and analyze what had caused me to have such a dim view of it in the first place. In my initial review I found the movie to be soulless despite its lush animation (which I praised), quoting Ebert's review for the 1989 "Batman" movie when he wrote that although it had "one of the most distinctive and atmospheric places I’ve seen in the movies," it was "a shame something more memorable doesn’t happen there." Many people urged me to give it a second chance, and when I did I realized that something quite memorable had happened there. I've actually been planning on writing this for a while, though, ever since I happened to rewatch "Spider-Man: Into the Spider-Verse" and was moved to tears. Hence this revision of my 2018 review for "Spider-Man: Into the Spider-Verse," on the occasion of the movie's recent premiere on Netflix, as well as the upcoming theatrical release of "Spider-Man: Far From Home" next week. And one such responsibility, as a critic, is to admit when you've made a mistake. Yet with great power comes great responsibility.
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In my 20s, after discovering Rotten Tomatoes, I moved on to other critics (including Salon's own Andrew O'Hehir) and became familiar with the different styles of film criticism, the different ways that one can deconstruct the complex art known as cinema and in so doing create analysis, commentary and even works of literature that will be read by countless people. Growing up I regularly read the reviews of the iconic Roger Ebert, whose opinions on movies read more like verdicts than opinions. One of the greatest moments of my life was when I started writing movie reviews.