'Spider-Noir' Review: A Worthwhile Throwback for All Web-Heads
First off, ‘Spider-Noir’ must be watched in its black and white form. It’s a neat novelty for this series to be offered in both colorless and colored versions, but the former far better suits the vibe here. Do yourself the favor of making that call from the get-go.
Prime Video’s ‘Spider-Noir’ is a title that Spider-Man fans have awaited for a long while now. Since the character’s debut on the silver screen in 2018’s Into the Spider-Verse, voiced by Nicolas Cage, web-heads have clamored for a continuation of this specific version of the character of any kind.
Of course, Amazon then announcing the series - which was teased with a litany of set photos and advanced looks - had fans in hysterics. In the gap between Tom Holland spidey-flicks (which is now nearly closed), a ton of content sort of circling this character came and went.
Thankfully, it can be said that Spider-Noir is among the best of those offerings, translating Nic Cage’s iteration of this brooding spider hero to both live action and the small screen with ease. Even with Marvel’s Brand New Day so close on the horizon now, this is an effort Spider-Man fans should absolutely tune into. Perhaps the series’ strongest aspect is its aesthetic palette. Spider-Noir completely commits to the old school look and feel, and that goes beyond the colors. Sets feel like sets; claustrophobic, contained, and even a little hokey. That works so well, especially when paired with long black coats and almost unusually small hats for nearly every character.
Factor in the throwback private investigator’s office (and accompanying door) and you’ve got all you could ever ask for on the visual front. Oh, and the web-swinging looks brilliant; anything to do with webs or spiders or gross, sticky effects at all works, and is among the show’s most memorable facets.
When it comes to Cage’s character himself, he’s not Peter Parker here - at least, he isn’t confirmed to be. Cage is taking on the Ben Reilly persona in 1933 New York City. Technically dubbed ‘The Spider’ (I’ll let that one slide), Reilly operates as the city’s lone and much-needed hero.
In terms of plot details, which won’t be divulged for spoiler-related reasons, it so much more complicated than merely swinging around and saving the town. This is a jaded, mostly reserved turn from Cage, backed with curse words and forlorn looks galore. He’s the face of this series, even under the mask, and is exactly what you hoped he’d be. Cage’s eccentric sensibilities match the cinematic energy of the time period all too well, too.
As far as the show’s supporting cast goes, the group is mostly comprised of either wavering new additions or soft reinterpretations of Spider-Man mainstays. Brendan Gleeson as the villainous Silvermane is a properly demanding counterpart to Cage, and Li Jun Li serves as a compelling bedrock for the story as it advances.
On a slightly less positive note, it certainly takes a measure of adjustment to get used to what this series is doing differently from the Spider-Man stories that you’re likely familiar with. There were bound to be adjustments to this time period, but at its worst, Spider-Noir feels detached from the character that thrust it into the limelight in the first place. Even so, especially as a follower of that character, you’d be hard-pressed not to find more than a little enjoyment here. Watching Reilly on the job as a detective is fun enough on its own, but seeing Spider-Man elements weaved into that as the narrative dives into the city’s criminal underbelly is compelling, even if it isn’t unheard of. The show can feel very much like a spotlit Daredevil; only, trade the philosophical and religious undertones for lost love and corrupted politicians. If that sounds like it’d work to you, that’s because it does.
For folks who don’t much care for Spider-Man on the whole, it may be hard to fully commit to this thing at any interval. Due to Spider-Noir being at its best as a Spider-Man-related effort, the show dipping out of that identity on occasion offers little to anyone looking for an extra layer of broad noir storytelling. Just as the time that it’s set in already sort of demanded, Spider-Noir is unabashedly corny. Little will fly beyond your generally attentive radar as the story progresses and, even if it’s interesting and without a doubt well acted. This is a comic book-first foray into an aesthetic that hasn’t been visited enough in the genre, at least on the screen.
It just helps that it comes equipped with glowing white eyes and a physical sense for danger. Spider-Noir is exactly what fans of the character have been asking for in an on-screen adaptation. While it may have benefitted from not being dropped all at once, season one is a more than worthy watch for casual enjoyers of the genre and fans of the character both.
Is not being much beyond what the title promises a bad thing? I, for one, wouldn’t say so… but I can’t solve a Rubik's Cube and often allow matches to burn down to my fingertips, just to feel something. Take that as you will.