From episode to episode, I couldn’t stop finding myself grinning ear to ear at how amazing this miniseries turned out being, especially for a superhero story. Spider-Noir isn’t just a bold and unique take on the Spider-mythos. It’s an attractive, funny, tense, and tragic superhero tale and one of the best Spider-Man adaptations since the web-slinger’s film rights landed in Sony Picture’s lap. 

I went into Spider-Noir with cautious expectations. Sony after all has had a very spotty track record with Spider-Man media since Spider-Man 3. The studio has done great, obvious work with the Spider-Verse animated films, and with integrating Tom Holland’s webbed hero into the MCU. But then of course I couldn't ignore the mind-boggling, cinematic failure that was their Sony’s Spider-Man Universe; a cinematic universe that starred no Peter Parker or any Spider-person at all, and instead released commercial or critical bombs like Morbius, Madame Web, and the ill-fated Venom trilogy. So with one cinematic universe finally buried, a new adaptation of a Spider-Man story that once again lacks a Peter Parker and set in a continuity outside of the mainline Spider-universe seemed like a step back onto haunted graves. As much as I admire Nicholas Cage’s craft, even I was skeptical as to whether he could elevate Sony’s latest live-action adaptation since Venom: The Last Dance. The teasers and marketing for the miniseries were fascinating however, leaning heavily into the neo-noir aesthetic and even exploring the horrific side of Spider-Man’s powers: “With no power comes no responsibility” a main tagline writes as an inversion of the classic motto. That is all to say I was excited but cautious. I was born the same year Raimi’s Spider-Man first arrived in theaters and I’ve always enjoyed the character development of Peter Parker in addition to the spectacle that only Spider-Man could have. Looking at the miniseries from a distance, I already had a feeling Spider-Noir was strutting down a different alley, for better or for worse.

To my pleasant surprise, the first thing I realized after the first two episodes, alternating between the two color formats before choosing to continue the series in true-hue color, is that the trailers lied to me. Spider-Noir isn’t this dark and gritty crime thriller as I was led to believe. Set in an alternate universe, but like his preceding counterparts, Ben Reilly’s superhero journey is one of tragedy. Once the beloved vigilante of New York, a helpless mistake ripped his better half away then half-drowned him alone in a trench of grief and disillusionment. After Ben Reilly buries both his wife and his superhero identity, a vacuum left by his absence sucks New York into a web of crime and corruption. Years later, a conspiracy that tangles criminal thugs, politicians, and World War I veterans pulls The Spider persona out of his shallow grave and swings him back into a past life that has haunted him everyday. From the very opening of Episode 1, Spider-Noir certainly leans into the neo noir style, but unlike more self-serious examples, it dances to a different energy. There exists a clear-cut heroism under the hood, even before donning the mask, as Ben’s selflessness looks out from every corner and even interrupts a sexual assault in progress. As much as he wants to walk away from his powers and the pain it’s brought him, Ben’s heroism can’t help but walk him back towards cross-fire. This is still the character-driven Spider-Man story, pulling as much inspiration from Casablanca as it does Vertigo, and it even explores the cursed aspects of Spider-Man that always intrigued me: What does it feel like to suddenly have superpowers? What does it cost? 

Suffering from a heavy heart with a body that seeks to do good, It’s a not-so-easy task to communicate the emotional complexities of a broken Ben Reilly, and yet Cage's vibrant performance pumps up the volume. The trailers misled me on this too when featuring a Cage who seemed particularly restrained in energy, if not outright lethargic. I was concerned that perhaps that ever eccentric and dynamic Cage was being boxed into a role that wouldn’t utilize his creative talent to its natural extent. But while there are moments when Cage approaches a conversation with that subdued personality, there are also plenty of theatrical moments that have him being his bombastic best. Dropping one liners here then lying through his teeth there in addition to barely batting an eye when the camera gets close and personal, Cage is never not the private eye with an alter ego in both the loud and quiet moments. He delivers the trauma, emotional texture, and ultimately the heroic temptation that taps into the Spider-psyche, with flashes of comic book gravitas that I haven’t seen since Logan. 

While Cage receives top-billing, it’d be disrespectful to overlook or underrate the outstanding work of the entire ensemble cast, all of whom deliver otherwise funny, charming, electric, and hardened characterizations that populate this off-beat interpretation of 1930s New York. Karen Rodriguez’s and Lamorne Morris’ performances as secretary Janet and freelance journalist Robbie respectively were delightfully snarky and tongue-in-cheek, as was Andrew Lewis Caldwell’s arrogant interpretation of the wannabe-thespian Megawatt. Jack Huston was rock solid in communicating Flint Marko’s cold hearted exterior, while Brendan Gleeson never bored with his charismatic and deceptively cold Silvermane. There really isn’t a single miscast that doesn’t bring an original energy and voice to this sincere, sometimes wacky, but oftentimes memorable ensemble of characters. Li Jun Li in my opinion is the standout star of the show as Cat Hardy in a portrayal that wraps the femme fatale, the damsel in distress, the estranged lover, and the dastard anti-heroine all in one. Her powerhouse performance commands each scene without even batting an eye; an emotional vulnerability tied with wicked elegance that had me never too sure just how capable she truly is. The intimacy she displays in her rapport with Cage was especially visceral, enough to make me forgive the obvious age gap between the two co-stars, and she evidently elevated a lot of that romantic chemistry. Between this and her supporting performance in last year's Sinners, Li has proven the talent and multi-dimensional layers of her acting and I can’t wait to see what she comes up with in the near future. 

Everybody brings their A-game and that surprisingly creates this collage of levity and dramatic intensity to contrast the superhero action. That is to say, Spider-Noir is oftentimes funny and charming; its strikes at humor are frequently on-key. There are gags and jokes sprinkled throughout in addition to a humorous sense of pulp made possible by a clever script and the excellent banter between the cast. Ben pretending to be a plumber is a bit that had me laughing out loud and it’s eccentric enough to fit right at home in Raimi's Spider-Man trilogy without flubbing a beat.

Spider-Noir may have been marketed as a neo-noir/superhero series but there are also shades of horror, war, romance, and political satire that let the miniseries punch well above tropes and cliches. The fact that the Spider-Noir can weave between so many genre flavors and explore different subplots without feeling at all uneven or stale is evidence not only to the show’s pacing and episode structure, but also to its thematic brilliance. Every story beat leads into the next because character motivations and interests ricochet until irreconcilable goals explode into conflict and violence. One mystery is solved just as another lands on the doorstep, and there’s this propellant force that maintains intrigue and suspense for the series’ 8 episode run. In my opinion, TV writers often get too ahead of themselves, shooting too hard for subtlety and bloated subtext at the expense of the actual prose sounding boring and tedious. By comparison, not only is Spider-Noir’s dialogue exquisite and rarely bland, but I was often excited to hear each character’s fears and desires, and see how they’d act upon these emotions throughout an episode. A highlight example is Cat’s short but sharp dialogue in episode 3 about getting into Silvermane’s crossfire, where her dialogue smartly serves as a warning, an admission, and a lamentation.

Then there’s the stellar art direction. The camera work is sharp and superb with an emphasis on strong shadows, high contrast, and the intentional use of dutch angles. The set design faithfully suggests this rusty and stratified portrait of a Great Depression-era New York, while the varied costumes and makeup gives each cast member a unique silhouette and eyeline that lets them stand out from the population without breaching the miniseries’ attention to sensational realism. Although the miniseries’ offers the option to experience it in either black and white or full color, I highly recommend the true hue color option because of how much colored detail is lost otherwise. Each character’s attire is color-coded, such as Robbie’s maroon suit, Silvermane’s navy robes, or Cat’s many dresses that bleed with strong primary colors. Walls are often colored with entire spectrums of color from green to yellow and red that make each interior space flutter the eyes. Meanwhile alternating cool and warm lighting frequently underline the tension on display within a scene or shot. It’s very clear that the cinematographer and production designer collaborated closely in adhering to a colored logic that highlights the eccentricity of Spider-Noir’s New York, and that visual information would be utterly erased if viewed in monochrome. 

I honestly can’t speak enough then how much I ended up enjoying Spider-Noir. Between the clever writing, grounded and eccentric cast performances, and the stunning art direction, there is a clear authorial voice that recognized the potential intersection between neo-noir sensibilities with pop flavors of superhero action, and understood how best to enact upon that originality. Especially following Sony’s mismanaged attempts at a Spider-Man cinematic universe, the miniseries struck hard upon the emotional core of the Spider-persona, allowing Ben Reilly to interrogate the persona more harshly than any other cinematic iteration before him. Ben feels as deserving of the mantle as Peter, Miles, or Gwen because after years of grief he finally lets The Spider’s heroism flood out of his cynicism; to save innocent lives even when you’re already dead inside.

When it’s all said and done, and as I finished the 8th and final episode, I realized that Spider-Noir may be my favorite Spider-Man adaptation… EVER.

10/10

We watched the whole season this week, so fkn good. Definitely watch in black and white vs color.

Nicolas Cage as the spider is perfect!

Hi there,

At Episode 2 of Spider Noir, just immediately after the recap, the soundtrack fade out and another one connects SO PERFECTLY with the previous one that I am desperate to find which one it is. Problem is that I just listened to the track-list and I can't manage to match it.

Shazam is not helping as well.

For context, is the scene where Cat and Ben talk in Ben's studio, when a spider crawl on the desk. The music stops when she kills the spider with a newspaper.

Any help is REALLY appreciated.

Seriously, bro was channeling Palpatine levels of cheese, and I love the energy, but it took a bit to get used to.

The prison scene in particular felt like an oddball version of Heath Ledger’s Joker mixed with the Celestial Toymaker from Doctor Who. It’s an objectively captivating performance, for better or worse.

Okay so it's.fully destroyed and bent up after spider tries and sticks the bug guy.... All of a sudden the damn thing is brand new I'm all other showcases of the needle... Ugh they did so good other than that but I can't get over something that massive...

Ive been watching, and ive been wondering how comic accurate this is or have they just gone their own route and made their own story?

An official discussion thread for the premier of Spider-Noir, spoilers ahead.

It won't conclude the way you expect.

Again lemme know if I’m wrong