3) and the ninth Spider-Man film since Raimi’s 2002 hit, not counting the several other Marvel films in which the character appears. It is the fourth major superhero movie of the year so far (after Ant-man and the Wasp: Quantumania, Shazam! Fury of the Gods and Guardians of the Galaxy Vol. It is a sequel to the acclaimed 2018 animation Spider-Man: Into the Spider-Verse, and follows arachnidian teenager Miles Morales (Shameik Moore) as he meets a panoply of alternative Spider-people from different dimensions. This week, Spider-Man: Across the Spider-Verse was released in cinemas. Now, we live in a world where comic-book nerds often seem like the only market Hollywood is interested in courting. The genre started to open up with the success of Sam Raimi’s dynamic Spider-Man trilogy (particularly the first two entries, in 20) and Christopher Nolan’s gritty, Oscar-winning Batman sequel The Dark Knight, in 2008. Characters would have their idiosyncrasies sanded down for a “mainstream” market most superhero films could charitably be described as camp schlock. Anyone under the age of about 20 may struggle to believe it but, for a long time, superhero enthusiasts were poorly serviced by Hollywood.

It used to be hard being a comic-book nerd. Miles Morales (Shameik Moore) in ‘Spider-Man: Across the Spider-Verse’ (Sony)

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