English text below

«Ein latino-amerikanischer Teenager tritt in die Fussspuren von Spider-Man und bekommt es mit einem Superschurken zu tun, der mit einer Maschine unter New York in andere Dimensionen durchbrechen will. Unerwartete Hilfe im Kampf gegen die Gefährdung der Stadt erhält der Heranwachsende durch teilweise recht skurrile Spider-Man-Varianten, die es aus anderen Welten in seine Realität verschlägt. Der Superhelden-Animationsfilm nach Marvel-Comic-Motiven spielt formal brillant mit der Comic-Ästhetik und nutzt das Thema des Spider-Man-Multiversums für visuelle Feuerwerke. Zugleich bricht er mit der Vielzahl der Spider-Man-Varianten eine Lanze für die Vielfalt von Heldenbildern.» (Felicitas Kleiner, Filmdienst)
Satoshi Kon war eine bedeutende Inspiration für Spider-Man: Into the Spider-Verse, wie Koregisseur Rodney Rothman betonte. Kons subtile Erzählweise, Texturen und Risikobereitschaft beeindruckten das Team und motivierten es zu ähnlichen kreativen Höhen. (lb)

«The story is clever and just complicated enough, moving quickly through silly bits, pausing for moments of heart-tugging sentiment, and losing itself in wild creative mischief. It is referential (and reverential) enough to Marvel traditions to please the geek armies, and perfectly accessible to new recruits or part-time warriors. The characters feel liberated by animation, and the audience will, too. Old-style graphic techniques commingle with digital wizardry. Wiggly lines indicate the tingling of spider senses, while electronic bursts signal the presence of interdimensional static. The rules of visual coherence are tested and ultimately upheld, while the laws of physics are flouted with sublime bravado. Even the climactic showdown — lately the dullest, noisiest, least imaginative part of any superhero movie — has a crazy, psychedelic intensity. In large-scale live-action filmmaking, digital effects have lost much of their luster, serving less as tools for innovation than as shortcuts to bombast. “Spider-Verse,” analog in sensibility if not in technique, finds greater imaginative freedom in venerable comic book traditions. It finds realism, too. This may be the first “Spider-Man” feature to qualify as a great New York movie, drawn from the life of the city rather than outdated stereotypes. Streets and subways, apartments and schoolyards are beautifully and faithfully drawn, as are humans of all ages, shapes and hues. The people talk fast, the music is loud and sometimes hectic, and everyone is in motion all the time. Even the tourists from other universes are sorry to leave.» (A.O. Scott, New York Times, 12/2018)

Drehbuch: Phil Lord, Rodney Rothman
Musik: Daniel Pemberton
Schnitt: Robert Fischer Jr.

Mit: Shameik Moore (Miles Morales/Spider-Man), Brian Tyree Henry (Jefferson Davis), Lauren Vélez (Rio Morales), Mahershala Ali (Aaron Davis/Prowler), Chris Pine (Peter Parker/Spider-Man), Hailee Steinfeld (Gwen Stacy/Ghost-Spider), Jake Johnson (Peter B. Parker/Spider-Man), Nicolas Cage (Peter Parker/Spider-Man Noir), Kimiko Glenn (Peni Parker/SP//dr), John Mulaney (Peter Porker/Spider-Ham), Lily Tomlin (May Parker), Zoë Kravitz (Mary Jane «MJ» Watson), Liev Schreiber (Wilson Fisk/Kingpin), Kathryn Hahn (Dr. Octavius/Doc Ock)

117 Min., Farbe, DCP 3D, E, ab 12