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Post by Pavan on Dec 15, 2018 13:24:09 GMT
Loved it. The film introduces us to Miles Morales and a whole lot of Spider people and tackles a multiverse plot pretty effectively thanks to some good writing. Feels like a comic book came to life. Full of innovative animation and very immersive too. I watched it in 3D and can't get enough of the Kaleidoscopic visuals. The image has a texture filled with minute dots just like a comic book. It takes some time for our eyes to adjust but after a while you don't notice it. Most of the humor and jokes (that Spider-Man 3 reference ) land pretty well and it gets better when the other Spider-people join. It's the best Spider-Man film since Sam Raimi's Spider-Man 2 and one of the best animated films in recent times- 8.5/10 A great tribute to Stan Lee. P.S.: I wish they hired Tobey Maguire for voicing Peter Parker. You'd know how dearly the film missed him after seeing it. P.P.S.: There's a post-credit scene which is a playful callback to one of the internet's famous memes.
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Post by Miles Morales on Dec 22, 2018 18:13:27 GMT
This thread is so dead Anyway, 'amazing' and 'spectacular' are appropriate descriptors for this film. Absolutely, positively loved it, so much that it has officially surpassed The Dark Knight as my favourite comic book film.
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Post by Ryan_MYeah on Dec 22, 2018 18:42:46 GMT
It’s a good movie, and I’m surprised just how much it moves. It’s genuinely funny, the action’s really stirring, and I love the voice cast (I wanted more of Cage’s camp “NYAH” voice). And I really was taken with how well they did the drama.
Although, I probably would’ve been more receptive to it, if I hadn’t played Spider-Man on the PS4, which hit some similar (if not exact) beats in story and the tough reality of being Spidey, as well as in-jokes poking fun at his history.
And while Lord and Miller’s influence was felt, you can tell this wasn’t entirely their baby, and I kinda wished they took charge, and maybe leaned more into either the comedy or drama (it was kinda jarring to watch certain scenes play out when there’s a literal cartoon pig in the room).
But the movie looks gorgeous, and I can tell when it comes out on video, I’m gonna spend hours obsessing over every easter egg and background detail. Hated the 3D, though.
So its good, and I’m glad that Miles got done justice, but I don’t see it as the best Spidey movie it’s being hyped up as.
And the Stan stuff got me.
EDIT: I saw Adri say this, and I agree. Lily Tomlin is probably the most badass Aunt May ever.
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Post by JangoB on Dec 25, 2018 20:38:22 GMT
It's good and fun but I left the theatre slightly underwhelmed. The best thing about the movie is the creative and pretty singular animation style but once I got used to it I kept looking out for more things to be impressed by. And I didn't really find the story (it is, after all the joking about it, another origin tale) or the humor to be all that amazing. I also thought that some of the Spideys were really quite underused - the B&W one, the anime one and the pig one. But I was happy to see them any time they appeared on the screen. The most captivating character is the battered and somewhat fat Peter Parker of the older days, I loved everything that had to do with him.
So it was a good time. Nothing spectacular, but still rather inspired from a visual standpoint. I wasn't blown away by the style (it's not necessarily my cup of tea) but the mere uniqueness of it was rather cool. I just wish a more interesting story could be found for it to be applied to. But what we have is a real solid animated action flick. Even if it ain't got shit on Raimi's first two films.
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Post by The_Cake_of_Roth on Dec 26, 2018 0:05:55 GMT
Like Jango, I thought this was solid, but the animation style, while creative and unique, isn't really my bag. Some of the plot contrivances bugged me too, but it was a fun experience overall. I kind of love the idea of a washed up Peter Parker, and I would totally watch a whole movie about the noir Spider-Man.
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Post by DeepArcher on Dec 27, 2018 4:34:07 GMT
Hot take incoming: I actually kind of hated this. Which is really disappointing, given not just the unanimous praise but also all the potential that the concept has to make a truly powerful statement about diversity & the concept of heroes being universal symbols rather than just individuals, yada yada. But it didn't work for me. I'm absolutely thrilled that it is for so many people who are being inspired by this, and I think it could bring some positive change to the genre -- but for me, the effect wasn't there. Absolutely adored the animation, and I consider it perhaps the most innovative thing in the genre in *years*. Nearly nothing else about it worked for me: I wrote a bit about it on Letterboxd here, if you're interested in knowing why. Still better than Incredibles 2, so at least there's that. It also doesn't help that I haven't felt well at all today, so watching this just added to my headache and nausea. May try to give this another try at some point when I don't feel like shit, because that may have genuinely been an influencing factor.
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Post by JangoB on Dec 27, 2018 6:54:14 GMT
Hot take incoming: I actually kind of hated this. Which is really disappointing, given not just the unanimous praise but also all the potential that the concept has to make a truly powerful statement about diversity & the concept of heroes being universal symbols rather than just individuals, yada yada. But it didn't work for me. I'm absolutely thrilled that it is for so many people who are being inspired by this, and I think it could bring some positive change to the genre -- but for me, the effect wasn't there. Absolutely adored the animation, and I consider it perhaps the most innovative thing in the genre in *years*. Nearly nothing else about it worked for me: I wrote a bit about it on Letterboxd here, if you're interested in knowing why. Still better than Incredibles 2, so at least there's that. It also doesn't help that I haven't felt well at all today, so watching this just added to my headache and nausea. May try to give this another try at some point when I don't feel like shit, because that may have genuinely been an influencing factor. Even if I did like the film more than you did, I can't agree enough with this part of your Letterboxd review: ' The entire device of parallel universes has always bothered me and stuck me as lazy' There's so much praise heaped upon the film for being fresh and original and bold and all that, and all I could think was that in terms of the crux of the story they really went for a very easy way out. Why bother creating a complex original narrative when you can just literally open up a portal into other dimensions and have basically all the freedom in the world to do whatever comes into your mind Some may see that as a virtue but I'm more impressed by situations where filmmakers create gold under obstacles and limitations. Which is probably why, however impressive the visual style of this one is, it'll never amaze me as much as a singular-looking live action film. Animation is total freedom, live action is total limitations. So yeah, this one is all flashy and varied and colorful (sometimes even a bit too much). But I'll take Sam Raimi's fun camera movements and editing and his big heart any day over this.
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Post by Martin Stett on Dec 27, 2018 7:39:38 GMT
I'm more impressed by situations where filmmakers create gold under obstacles and limitations. Which is probably why, however impressive the visual style of this one is, it'll never amaze me as much as a singular-looking live action film. Animation is total freedom, live action is total limitations. So yeah, this one is all flashy and varied and colorful (sometimes even a bit too much). But I'll take Sam Raimi's fun camera movements and editing and his big heart any day over this. As a lover of animation, I would like to go on record that I believe full freedom is wonderful. The trouble is reining yourself in and using it correctly. Kino's Journey uses a very muted color palette in suiting the nature of the story (that of a woman searching for beauty in a world that seems to have little of it). Madoka Magica uses traditional line-drawn animation for its characters and environments and various other art and animation styles for the monsters (a cubist-inspired worm made up of two-dimensional drawings linked together and animated through stop-motion creates something that simultaneously is and isn't two-dimensional, for example). Whisper of the Heart is a straight-up drama with no fantastical elements, but the filmmakers use the animation to manipulate every image perfectly, from Shizuku's isolated sighs to the cold street-lamp lighting she walks through at night. All of these are limited only by the imaginations of their creators, true; but that imagination used correctly can create singular visions that are more powerful than anything I've ever seen in live-action. It's a reason I always love finding new pieces of animation (rarely from America, as their animated films are almost all soulless products).
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Post by JangoB on Dec 27, 2018 13:57:56 GMT
I'm more impressed by situations where filmmakers create gold under obstacles and limitations. Which is probably why, however impressive the visual style of this one is, it'll never amaze me as much as a singular-looking live action film. Animation is total freedom, live action is total limitations. So yeah, this one is all flashy and varied and colorful (sometimes even a bit too much). But I'll take Sam Raimi's fun camera movements and editing and his big heart any day over this. As a lover of animation, I would like to go on record that I believe full freedom is wonderful. The trouble is reining yourself in and using it correctly. Kino's Journey uses a very muted color palette in suiting the nature of the story (that of a woman searching for beauty in a world that seems to have little of it). Madoka Magica uses traditional line-drawn animation for its characters and environments and various other art and animation styles for the monsters (a cubist-inspired worm made up of two-dimensional drawings linked together and animated through stop-motion creates something that simultaneously is and isn't two-dimensional, for example). Whisper of the Heart is a straight-up drama with no fantastical elements, but the filmmakers use the animation to manipulate every image perfectly, from Shizuku's isolated sighs to the cold street-lamp lighting she walks through at night. All of these are limited only by the imaginations of their creators, true; but that imagination used correctly can create singular visions that are more powerful than anything I've ever seen in live-action. It's a reason I always love finding new pieces of animation (rarely from America, as their animated films are almost all soulless products). Don't get me wrong - I ain't dumping on animation as a visual medium, I love great animated films as well, and some directors have a wonderful, singular approach to this medium. It's just different strokes - I'm more of a live action kinda guy, and when filmmakers have a singular vision and are able to realize it in live action, I'm even more impressed.
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Post by mikediastavrone96 on Jan 3, 2019 5:02:55 GMT
The first great Spider-Man film since Raimi's Spider-Man 2, the boldest superhero film since The Dark Knight in terms of tone, and the most visually creative animated film since... The Lego Movie? Tale of Princess Kaguya? I don't know, but it's been a while. Anyway, loved every minute of it and I need a Nic Cage Spider-Man Noir* film right now. * "Sometimes, I let matches burn all the way to my fingertips just so I can feel something! Anything!" will probably go down as my favorite line of 2018.
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