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 Created by Sony Pictures Animation and produced by Phil Lord and Christopher Miller, Spider-Man: Into the Spider-Verse tells the story of a Miles Morales, a smart, awkward kid from Brooklyn who is bitten by a radioactive spider and begins to develop strange powers. Searching for answers, he runs into the costumed hero you and I all know as Spider-Man. And then, after a run-in with a supercollider, he runs into another one. Then four more. https://www.youtube.com/watch?v=uUzgg84iacY Before you know anything else, know that Into the Spider-Verse is good. Very good. It's currently sitting at 97% on Rotten Tomatoes with 237 reviews, an average of 85% on Metacritic, and is dominating the box office (Sorry Mortal Engines). Once you've seen it, of course, you'll know why: the movie makes the absolute most of animation as a medium and is utterly breathtaking to see in motion. The writing is great as well, delivering some incredible jokes along with moments of genuine tension and emotion. The soundtrack is good, the use of color is fantastic, it's got great action and fight scenes... long story short, if you like animation, you'll love this movie. If you like superheroes, you'll love this movie. And if you hate both of those... you'll still probably like this movie. It's that good. Acebuckeye13 fucked around with this message at 19:45 on Dec 15, 2018 |
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Dec 15, 2018 18:00
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Really neat article on the process that went into creating the movie's look and feel: https://twitter.com/pramsey342/status/1072665741307056128
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Dec 15, 2018 19:19
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NecroMonster posted:It is absolutely, to its roots, a spider-man movie. But simply calling it "a spider-man movie" feels cheap to me. I think that what the movie does really well is that it gets to the heart of what makes Spider-Man a compelling and enduring character: that no matter what hits he takes, no matter how thankless being Spider-Man can be, and no matter the cost, he'll always gets back up. And the movie highlights that by juxtaposing it incredibly well between Miles the rookie and Peter the veteran: Miles has to overcome his inexperience and self-doubt as to whether he can get back up, while Peter has to overcome his mental exhaustion so he can remember that it's worth it to get back up. It's a classic story, and one that's well-told and executed amidst an excellent cast of antagonists and supporting characters.
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Dec 16, 2018 06:11
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Necrothatcher posted:*bagel* I don't know what got a better laugh from me, that or Peter in full costume crying in the shower
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Dec 16, 2018 17:12
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Gaunab posted:Some info on the Peter from Miles universe: according to the wiki (so take this with a grain of salt) that Peter was supposed to be as competent as Spider-man could be so it makes sense that he would have a spider cave and all that other stuff. Yeah, that comes directly from interviews with Lord and Miller: quote:Q: Do any of these Peter Parkers exist in the same universe as the Sam Raimi films? Because you do pay homage to them early on.
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Dec 18, 2018 03:07
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Gavok posted:Fun thing I noticed on the second watch is that when Miles is late to class Olivia's name is on the screen in that video they're watching, but Miles is obscuring her last name. The glasses she's wearing in civilian garb are also octagons.
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Dec 19, 2018 23:27
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This post is as bad as Spider-Verse is good.
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Dec 21, 2018 21:39
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Pirate Jet posted:I don’t see what’s wrong with that post aside from disagreeing with it. I mean, one of the very first things he says is: quote:Spider-Man comics are a story about failed escapism, which is why he’s always incompetent and ineffective as a hero, and why some audiences find him appealing. Problem is, at some point it became accepted that Spider-Man was inspirational rather than pathetic. Thus Miles Morales triumphs and adjusts perfectly to his normal and heroic lives. Bravest, have you ever actually read a Spider-Man comic in your life? They're not and have never been about 'failed escapism', and Spider-Man is not incompetent or ineffective—the original intention behind Spider-Man, like many of the 1960s Marvel superheroes created by Stan Lee, was to create heroes with more realistic motivations and flaws than the traditional Golden Age heroes like Superman or Captain America. In Spider-Man's case, the concept was 'what if a regular teenager was given superpowers?', and many Spider-Man stories are based around the dual concerns of balancing his normal life as a young adult (Going to class, talking to girls, working a part-time job with a jerk of a boss, and caring for his elderly aunt) with his responsibilities as a superhero. He struggles, but the appeal of his character is that he overcomes his struggles, both the entirely fictional challenges of being a superhero as well as the mundane challenges of life as a lower-middle class young adult living in New York. To believe that Spider-Man has ever intended to be pathetic is to fundamentally misunderstand literally everything about his character. Bravest likes to present a front where he's the most intelligent person in the room, and that the things everyone else likes are actually bad, but the problem is that he doesn't actually know as much as he thinks he does. His posts are a waste of the time you spent reading it and the time he spent writing it.
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Dec 21, 2018 23:22
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Bravest you'd be a hell of a lot less exhausting to deal with if you even bothered to care about the difference between subjective opinion and objective fact, because as it stands you are the world's most arrogant motherfucker.
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Dec 22, 2018 13:05
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Vintersorg posted:Thor 3 is my vote for most entertaining live-action Marvel movie. It hit everything out the park. My problem with Ragnarok is that it felt like the film was constantly undercutting serious or emotional moments with jokes, and bad ones at that. It's unfortunate, since I enjoyed it overall, but it left me wishing that they'd had more confidence in their film to let the emotional moments stand on their own.
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Dec 22, 2018 21:17
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The underlying theme of Into the Spider-Verse is choice and the agency to make choices and it's not particularly subtle. The struggle that Miles faces throughout the movie is that while he is an intelligent and artistic kid, his choices are constantly being made for him. His self-expression and desire to leave a mark on the world are deterred by his father (Who wields both societal and familial authority), who has also forced on Miles a new school and environment where Miles has a more difficult time both standing out and fitting in (To the point that he even has to wear a uniform). And as the movie progresses, when Miles is bitten by a radioactive spider, he doesn't have a choice not to gain powers—he's a new spider-person, whether he likes it or not. Then later, when his universe's Spider-Man gives him the mission to destroy the collider, Miles again doesn't have a choice—he's seen the collider and the damage it can cause, and his home and family will be wiped out if he doesn't stop it. What gradually begins to happen, however, is that as Miles gains more agency in the story, he also gains greater control over his powers. For instance, when he finds Peter B. Parker and convinces him to help, he's able to control his abilities well enough to walk on walls. Later, when he chooses to follow Peter into the lab, he learns how to finally 'stop sticking', and even learns how to web swing during the escape. It's only near the end of the movie, however, that Miles is truly given the agency to make his own choice. When he's tied up by the other Spider-people, he doesn't have to break free and follow them. They're capable heroes—certainly more capable than him—and are almost certain to complete the mission and save Miles' dimension with or without him. Miles could remain in his room, accept his limitations, and remain safe... but he knows it would be at the cost of another Spider-Man dying. When his father gives Miles his inspirational talk, which is mainly focused on reminding Miles of his agency, Miles is finally able to focus and take control of his powers, and can finally make the choice to go out and save the day. And Miles' story isn't the only place choice is highlighted through the movie. Peter B's life fell apart because he was paralyzed by fear over the choice of having a child. Gwen chose to cut herself off from other people after her best friend died. Kingpin chooses to risk the entire city to get back the family he lost due to his choices as a mob boss. poo poo, even the quote from Stan Lee at the end has to do with choice—that it is the action of choosing to help others that makes one a superhero. Miles chose to help people, and you could choose to help people—because there's infinite possibilities, and your choices matter.
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Dec 23, 2018 22:38
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nine-gear crow posted:This is how you know he's truly a miserable miserly bastard. He won't even come out of his ivory Movie Lord tower to listen to a simple Chistmas album. What kind of person is so awful that they refuse to listen to Chris Pine singing about Spider-Man? Bravest has never known joy, and the very concept frightens him.
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Dec 24, 2018 03:37
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Who What Now posted:All the Sam Raimi movies, including three, are way better than any of the later live-action Spider-Man films I really need to rewatch the Raimi movies, if nothing else it'll be interesting to contrast them against the later Marvel movies. Also I'd have a good laugh if they mentioned the Clone Saga in any way in the sequel.
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Dec 26, 2018 04:26
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OctoberCountry posted:Why? It ruled. https://www.youtube.com/watch?v=6Ron-Ikenfc
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Dec 26, 2018 17:54
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Mel Mudkiper posted:ok, but why the japanese girl and pig? If it could be anything, why them? It's about contrast, and making use of animation as a medium. There are, of course, countless incarnations and different takes on Spider-Man, but those two stretch the concept into two forms of animation that are as far from the CGI of Miles' universe as you can get: Japanese anime and 1940s/50s American animation. By integrating those two characters into the plot, it helps sell two core ideas: One, that the multiverse is gigantic and varied, and that there are universes that are highly different from Miles', and second that even in spite of those differences, there are still heroes throughout who embody the quote from Stan Lee at the end of the film—thus tying into the film's overall statement that anyone can be Spider-Man, because it's not about being a nerd from Queens who works as a photographer as his day job, or having a specific set of powers, or even having an explicit spider-theme, but instead choosing to act selflessly for the benefit of others. Plus, the inclusion of those characters allowed the animators to do some really cool and neat things to help them fit in, thus heightening the film's visual spectacle, which is always a plus.
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Dec 29, 2018 05:27
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Phylodox posted:The Internet taught us that everything is porn to someone. While true, in this case it's about bots trying to exploit Youtube's algorithms for advertising dollars: https://www.youtube.com/watch?v=LKp2gikIkD8
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Dec 29, 2018 17:44
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Guy Mann posted:Do we even know that Aaron made the Prowler suit himself? I only remember seeing him wearing and fighting in the suit, for all we know he could have just been some bodyguard or security worker or mercenary who was given the suit by Kingpin as he started doing more dangerous and illegal wetwork stuff for him and gained his confidence. It would also explain why Kingpin was willing to kill him for a moment's hesitation when he puts up with all kinds of poo poo from Liv on account of her being an actual genius scientist and inventor whose work he has to rely on. He mentions that he went down to the area in the subway on an engineering job, and while that was probably a cover, it's probably a good bet that he does have an engineering background of some kind.
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Dec 30, 2018 02:30
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I do agree that it's entirely unnecessary to know why Aaron is the Prowler and Jeff's a cop. Neither would change anything or add significantly more dimension to their characters than what is already present, and additional details would have distracted from Miles' story.
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Dec 30, 2018 03:33
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Guy Mann posted:In keeping with the staff of the movie being Very Online, Phil Lord has been posting raw assets from the movie on request. I love how the crew has been so open about how they made the movie so rad. https://twitter.com/DANIELPEMBERTON/status/1079380689844346880?s=19
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Dec 30, 2018 16:24
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BravestOfTheLamps posted:Tragedy, in fiction, means disaster brought upon one's own ill-advised choices. Miles is effectively told to give up and go home as he is a danger to himself and the team due to his inexperience. Instead, he retreats to his uncle's apartment to try and steel his courage and collect his nerves. Then, when he discovers his uncle is the Prowler, instead of going home he heads back to the Spider-Lair, leading the Prowler and the Kingpin's men directly to the rest of the Spider-People. Finally, when confronted with the possibility of death, Miles chooses to unmask himself in a desperate attempt to save his own life, leading Aaron to hesitate and lose his life instead. Even by your own overly strict definition it is clearly a tragic result brought on by the protagonist's own choices. Was he entirely in control of the circumstances of his tragedy? No, but neither was Oedipus, and trying to argue otherwise is digging yourself into a hole of your own pedantry.
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Dec 30, 2018 17:44
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BravestOfTheLamps posted:As I already said, what makes tragedy a tragedy is that it is brought upon oneself. It's a form of cruel, destructive justice. Peter Parker decided that the rest of the world be damned as long as he and his family are happy, and because of that he loses part of his family. See, this is what I don't like about you as a poster. You are clearly well-read and educated, and yet instead of using that education for anything productive, you choose to spend your time telling people on the internet that the things they like are actually bad, while completely misrepresenting the subjects of your education. Miles isn't a tragic figure because he doesn't do anything wrong? Both within the text and outside of it, this isn't true at all. Many of the greatest tragedies feature protagonists who are entirely well-meaning and make what in their mind are the right decisions, but what makes them tragic figures is that they fail in spite of that. Oedipus wanted to avoid the horrific fate that had been forseen of him, and took what in his mind were prudent measures to avoid it—his mistake and hubris, of course, being that he could avoid fate. Othello was an intelligent and competent human being whose greatest mistake was placing his trust in the wrong lieutenant, and allowing himself to be manipulated into committing a horrific and unforgivable action. Miles made several poor decisions as a result of his inexperience and hubris. He wanted to be a member of the team to destroy the supercollider, and left dejected instead of heeding the advice of those with more wisdom and experience (See, this is where the Greeks would be pointing and nodding that, yes, this kid is about to get what's coming to him). Then, as a result of his inexperience, proving the rest of the team correct, he leads the Kingpin's men directly to the rest of the Spider-people, and in the ensuing standoff he gets his uncle, one of his closest relatives and friends, killed as a direct result of trying to save his own life (Ignoring, again, the words of multiple Peter Parkers that you don't remove the mask). If anything, Miles contributes far more to his own tragic fate than Peter, whose mistake was a single moment of inaction amidst his hubris. In short, please stop because you clearly know better and are deliberately misrepresenting that which you claim to hold in high esteem.
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Dec 30, 2018 19:22
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21 Muns posted:Given that Uncle Aaron is responsible for his own death, isn't it still a tragedy, just Uncle Aaron's own tragedy as opposed to Miles'? I think this argument is getting a bit confused, so let's clarify things up a bit: Bravest argued that Miles' story isn't tragic, because it doesn't meet the (His excessively specific) qualifications for a tragedy. I disagreed—I would argue that even if you accept Bravest's limited definition, it would still qualify as the negative events of Miles' story are still the results of his own actions, however well intentioned or meaning, as if Miles had given up at that point, or had he been more competent in evading pursuit, then Aaron would still be alive. This doesn't mean that he should have given up, of course, but merely that the events that result are absolutely tragic by any definition.
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Dec 30, 2018 20:29
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BravestOfTheLamps posted:The problem here is that you've come up with this bizarro definition that tragedy is "negative events [that] are results of one's own actions". Except 'terrible retribution for a terrible error' is a subset of tragedy, not the entire genre. Again, what 'terrible error' did Oedipus make that he could have reasonably avoided? e: actually gently caress it, I'm making a terrible error right now by engaging in your bad-faith posting
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Dec 30, 2018 20:48
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DeimosRising posted:Othello believes his wife is going to cuckold him from act one, when her father tells him that if she was willing to “betray” him by marrying without his blessing she will also “betray” her new husband/owner. Iago just tells him what he’s ready to hear. His pride, self loathing, and paranoia make him all too ready for murder. I'll concede on that specific example, I haven't read Othello since high school so I may be misremembering.
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Dec 30, 2018 21:46
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The amount of artistic craft in this movie is astounding.
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Jan 2, 2019 07:46
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Timeless Appeal posted:My wife nudged me during the movie, and I looked over to find next to us a four year old boy, who was black, in Brooklyn, leaned over the empty seat next to us, mouth agape at the film's finale. It was a pretty ideal way to watch the movie. When I was a kid, I remember walking around after seeing The Phantom Menace and imagining myself to be like Anakin Skywalker-that one day, some starship was gonna crash in my backyard or on the playground and I'd jump in and go fly it into some heroic space battle. I think about those moments a lot when I see discussions of representation in television and film, and it's part of what makes me so happy that this movie exists and is so great-there's countless kids who are going to see a part of themselves in Miles (or Gwen!), and be inspired to imagine themselves as heroes in a way that maybe they weren't imagining before.
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Jan 4, 2019 14:21
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Also, to emphasize just how important merely having a black face on the screen can be, here's an interview with Nichelle Nichols, who portrayed Lt. Uhura during the first series of Star Trek:quote:MARTIN: Now, in hindsight, of course, you know, everybody recognizes that this was a groundbreaking role. An African-American woman fourth in command on a spaceship in the 23rd century, you know, an officer, a leader. But you had actually planned to quit after your first season. Why? Source
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Jan 4, 2019 14:33
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Feb 17, 2019 02:43
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Copied from the animation thread: I'd have to watch the movie again with this in mind to think about how it would affect the movie's pacing, but for right now man I wish they'd left it in.
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Mar 2, 2019 05:42
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So the full Spider-Ham short has made it onto the web and it is wild. https://www.youtube.com/watch?v=rh6yAyhgcEk mods change my name to 'Nuclear Boarhead' tia
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Mar 11, 2019 20:25
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hiddenriverninja posted:I just got through the Alternate Universe cut and the actual movie we got was way better. What's the difference?
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Mar 22, 2019 21:15
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Ghost Leviathan posted:I think I missed that. How'd that happen? It wasn't just because of this thread (though he did get threadbanned), but it was just being what BotL always was: absolutely miserable and tearing down everything that didn't appeal to their extremely narrow sensibilities.
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Apr 27, 2020 12:49
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This is the exchange that finally led to him getting threadbanned.Timeless Appeal posted:My wife nudged me during the movie, and I looked over to find next to us a four year old boy, who was black, in Brooklyn, leaned over the empty seat next to us, mouth agape at the film's finale. It was a pretty ideal way to watch the movie. BravestOfTheLamps posted:The movie is about a kid losing his individuality as his story is hijacked by others, and he turns into a consumer and then a product. teacup posted:To you it may be. But to a four year old black kid it’s the only movie he’s ever seen with a kid who looks like him winning the day. So gently caress off in just one conversation of one thread with your bullshit. BravestOfTheLamps posted:That's a stretch. Just a miserable, miserable poster.
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Apr 28, 2020 00:05
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It's always worth remembering that representation matters, and while popular culture is still getting better in that regard, we still have a very long way to go, so it's worth celebrating films like this that have both positive representation and an extremely good message that kids can look up to. As to Bravest, he was a toxic poster who was immensely dismissive of those that didn't agree with his extremely narrow interpretation of films and other media properties. In the exchange I posted, the dude had merely posted "Hey, it was cool to watch the movie next to a kid who was really into it," and Bravest responded by (effectively) saying "actually, movie is bad." Dude was just a jerk.
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May 7, 2020 04:37
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hiddenriverninja posted:Peter Parker, or Peter B. Parker? peter parker posts in D&D, peter b posts in CSPAM
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May 22, 2020 00:00
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Haha god drat, that's awesome.
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Nov 13, 2020 04:06
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Saw it, movie kicks all kinds of incredible rear end.
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Jun 2, 2023 09:38
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Inspector Gesicht posted:It has been five years since I last consumed any live-action Star Wars. Solo was a mediocre work that was loving bad in it what it represented. IP incest. VC Andrews, Flowers in Outer Space. Solo was a mess of a project partly because Lord and Miller were pulled off of it halfway through filming, so I'm not sure what point you're trying to make here.
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Jun 2, 2023 20:34
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Babysitter Super Sleuth posted:Miguel is obsessed with “canon” because he needs the idea of some cosmic self-enforcing Order that mandates personal tragedy for spider-beings because it’s the only way he, personally, can cope with the fact that he went through the wringer twice, presumably with one package of the standard spidey tragedy plus the loss of his replacement family. He resents Miles because his very existence as a Spider-Man that shouldn’t exist is a full-throated universal refutation of the one idea that’s letting him hold it together (after all - if his idea of Canon was true, then shouldn’t both Miles’ universe and universe 42 fallen prey to the glitching and rifts? And yet they persist despite such a seemingly massive violation) and he’s projecting all the blame of the situation possible on to him to try and justify his resentment. In addition, the implication I got was that Miguel believes (Or at least suspects) that the spider that bit Miles came from the universe that he found and was destroyed - hence his line about Miles' existence depriving another universe of its Spider-Man. His anger is deeply personal, and parallels Miles' relationship with the Spot, as in both cases Miles wasn't really at fault for their tragedies, but he's an easy target for their anger. I don't know if this is the intended reading though, since I'm not sure if the timeline works out. Guess I'll have to watch the movie again to find out 
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Jun 5, 2023 04:20
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Regalingualius posted:I’m betting that there’s going to be a twist with Miguel where he finds out that he got the cause wrong: Spot eventually grows so powerful that he starts rewriting history on a multiversal scale, and Miguel’s own present efforts to stop Miles are what ultimately causes the tragedy in his past to happen In the comics Miguel is supposed to be from the future, so this checks out.
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Jun 5, 2023 04:32
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