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I would have liked it to be more even, but that might have pushed the magic formula. Also probably more of other Spider-Men, because really this story is Miles, Peter, and Gwen's story and the other three are more or less background. Really if I had a critique, it would be wanting a few more moments like this. It's surprisingly powerful considering one of the characters involved is a talking pig. 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.
#Spider man into the spider verse soundtrack movie#
Actually my favorite moment in the movie isn't a big action sequence, it's a small moment of all the Spider-Men sharing their experiences of loss, and experience they can all only share with each other. Written by Randy Badazz Alpert (as Randy Badazz Alpert), Andy Armer (as Andy Armer), Sean Diddy Combs (as Sean Combs), The Notorious B.I.G. What the hell! And it does all of this without missing it's emotional core. Again, mistakes in the past but here it works. And we get so many cool Spider-Men, and so many cool villains, and somehow it never feels crowded like it did in Spider-Man 3 or X3.
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The characters look more like comic books than ever, and even the different Spider-Men have different art styles to them, and did I mention the "bing" and "pow" and "bagel" text sound effects and even thought bubbles that will appear over their heads? This movie just oozes so much style. How? How did they do that? Maybe because this whole movie is basically a comic book. When this movie does it, it adds to the energy and atmosphere of the film without ever interrupting the flow of the action. For example, when Ang Lee did stylized comic panels in Hulk, it was confusing and weird. Like, maybe the best Spider-Man movie ever good? Is that even possible? It's weird because it even does things that were terrible mistakes in other movies and does them here in a way that works out with artistic brilliance. But where soundtrack tunes so often indulge in the audio-production equivalent of pyrotechnics, some of Spider-Verse’s best songs triumph for the exact opposite reason-Vince Staples’ closer, “Home,” and Swae Lee and Post Malone’s “Sunflower” ride the lowest of lo-fi beats to really let their lyrics shine.So when I heard Sony was doing an animated Spider-Man, good lord this is about a million miles from where I thought they would be. And Nicki Minaj turns up the patois over Caribbean vibes on “Familia”-a rare song that directly references the film-alongside verses from Puerto Rican trap artist Anuel AA and Zimbabwean singer Bantu. Lil Wayne and Juice WRLD each offer introspective tracks (the former featuring a surprise appearance from the late XXXTENTACION) that use literal darkness as a metaphor for emotional pain. LA MC DUCKWRTH’s “Start a Riot” is a jump-up-on-the-table party-rap rager. While these songs were written for the movie, they often don’t sound like movie songs in the conventional sense. So it makes sense that the animated Spider-Man: Into the Spider-Verse-which features multiple cross-racial, cross-gender, cross-generational, cross-dimensional characters with Spidey powers-has a soundtrack that really upends the franchise’s own long-established aesthetic and cultural awareness. But surveying it 16 years later, there was something awfully homogenous about its lineup: Sum 41, Nickelback’s Chad Kroeger, Theory of a Deadman, Aerosmith, Pete Yorn.
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There was nothing necessarily wrong with the soundtrack to 2002’s Tobey Maguire-starring Spider-Man.