Chris Klimek presides over a multiversal showdown between two of the most beloved Spider-Man films: Sam Raimi’s Spider-Man 2 and the animated Spider-Man: Into the Spider-Verse.

One is a live-action, early-2000s studio blockbuster that crystallized the modern superhero movie — grounded in practical effects, emotional melodrama, and a deeply human Peter Parker torn between responsibility and desire. The other is a radically stylized animated film that reimagines what superhero storytelling can look like, embracing comic book form itself as its visual language.

Arguing for Spider-Man 2 is Matt Singer (Marvel's Spider-Man: From Amazing to Spectacular), who makes the case that Raimi’s film remains the definitive Peter Parker story. Arguing for Spider-Verse is Daisy Rosario, who contends that the film not only updates but expands the Spider-Man mythos. 

Which one better captures the essence of Spider-Man — and why does that question remain so difficult to answer? Choose your winner at moviedeathmatch.com.

More From Matt

Official Site | ScreenCrush | “Funny Business”

More From Daisy

Death, Sex & Money | ICYMI

Chris Klimek presides over a multiversal showdown between two of the most beloved Spider-Man films: Sam Raimi&rsquo;s Spider-Man 2 and the animated Spider-Man: Into the Spider-Verse.
One is a live-action, early-2000s studio blockbuster that crystallized the modern superhero movie &mdash; grounded in practical effects, emotional melodrama, and a deeply human Peter Parker torn between responsibility and desire. The other is a radically stylized animated film that reimagines what superhero storytelling can look like, embracing comic book form itself as its visual language.
Arguing for Spider-Man 2 is Matt Singer (<a href="https://insighteditions.com/products/marvels-spider-man-from-amazing-to-spectacular">Marvel's Spider-Man: From Amazing to Spectacular</a>), who makes the case that Raimi&rsquo;s film remains the definitive Peter Parker story. Arguing for Spider-Verse is Daisy Rosario, who contends that the film not only updates but expands the Spider-Man mythos.&nbsp;
Which one better captures the essence of Spider-Man &mdash; and why does that question remain so difficult to answer? Choose your winner at <a href="http://moviedeathmatch.com">moviedeathmatch.com</a>.
More From Matt
<a href="https://www.matt-singer.net/">Official Site</a> | <a href="https://screencrush.com/">ScreenCrush</a> | <a href="https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/">&ldquo;Funny Business&rdquo;</a>
More From Daisy
<a href="https://slate.com/podcasts/death-sex-money">Death, Sex &amp; Money</a> | <a href="https://slate.com/podcasts/icymi">ICYMI</a>

Adam Kempenaar and Josh Larsen review new and classic movies, offering "affable, insightful film analysis since 2005" (NY Times).

New and classic movie reviews and top 5 lists.

Filmspotting

Spider-Man 2 vs. Into the Spider-Verse  | Movie Death Match

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/57517fbf-e8a8-4de3-b076-b49b012f2101/transcript

Adam and Josh share their favorite discoveries, performances, and scenes from the recently completed Dissident Cinema Marathon, which included Chaplin’s The Great Dictator, Kurosawa's No Regrets for Our Youth, and Rossellini’s Rome, Open City.

Links:
-The Circle Ending Revealed | BFI
⁠old.bfi.org.uk/sightandsound/review/1960⁠

-Filmspotting Marathons
https://www.filmspotting.net/marathons

Adam and Josh share their favorite discoveries, performances, and scenes from the recently completed Dissident Cinema Marathon, which included Chaplin&rsquo;s The Great Dictator, Kurosawa's No Regrets for Our Youth, and Rossellini&rsquo;s Rome, Open City.
Links: -The Circle Ending Revealed | BFI <a href="⁠old.bfi.org.uk/sightandsound/review/1960⁠">⁠old.bfi.org.uk/sightandsound/review/1960⁠</a>
-Filmspotting Marathons <a href="https://www.filmspotting.net/marathons">https://www.filmspotting.net/marathons</a>

Favorite performances, scenes, films, and more, from the Dissident Cinema Marathon.

Marathon Awards | Dissident Cinema 

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/a36bc05c-4823-4784-973c-b4a701208904/transcript

Jane Schoenbrun’s uncategorizable third feature, Teenage Sex and Death at Camp Miasma, marks the director as among the most assured and provocative filmmakers of their generation. Adam and Josh agree that it’s the film of the year so far. Plus, other notable third features this decade, listeners pick their favorite Spider-Man movie, and Adam reviews The Brink of War.

This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off.

(Timecodes will not be precise with ads.)

Intro (00:00:00-00:02:38)

Teenage Sex and Death at Camp Miasma (00:02:39-00:45:20)

Filmspotting Family (00:45:21-00:51:21)

The Brink of War (00:51:22-01:01:11)

Polls(01:01:12-01:11:25)

Credits / Releases (01:11:26-01:15:26)

Feedback:

-Email us at feedback@filmspotting.net⁠⁠

⁠⁠⁠⁠-⁠Ask Us Anything⁠⁠⁠⁠⁠ and we might answer your question in bonus content.

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Jane Schoenbrun&rsquo;s uncategorizable third feature, Teenage Sex and Death at Camp Miasma, marks the director as among the most assured and provocative filmmakers of their generation. Adam and Josh agree that it&rsquo;s the film of the year so far. Plus, other notable third features this decade, listeners pick their favorite Spider-Man movie, and Adam reviews The Brink of War.
This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits.<a href="https://experience.regmovies.com/join-unlimited?utm_source=podcast&amp;utm_medium=referral&amp;utm_campaign=filmspotting"> Use code FILMSPOT26 to take 15% off.</a>
(Timecodes will not be precise with ads.)
Intro (00:00:00-00:02:38)
Teenage Sex and Death at Camp Miasma (00:02:39-00:45:20)
Filmspotting Family (00:45:21-00:51:21)
The Brink of War (00:51:22-01:01:11)
Polls (01:01:12-01:11:25)
Credits / Releases (01:11:26-01:15:26)
Feedback:
-Email us at <a href="mailto:feedback@filmspotting.net">feedback@filmspotting.net⁠⁠</a>
⁠⁠⁠⁠-<a href="https://forms.gle/PGVFAm4GvbmPJWqG8">⁠Ask Us Anything⁠</a>⁠⁠⁠⁠ and we might answer your question in bonus content.
Support:
-Join the Filmspotting Family for bonus episodes and complete archive access.
<a href="http://filmspottingfamily.com">http://filmspottingfamily.com</a>
-Filmspotting Shop for T-shirts and more.<a href="https://www.filmspotting.net/shop">⁠ ⁠</a>
<a href="https://www.filmspotting.net/shop">⁠https://www.filmspotting.net/shop⁠</a>⁠⁠⁠
Follow:
-Watch Filmspotting on YouTube:
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Jane Schoenbrun’s meta-slasher is the film of the year so far.

Teenage Sex and Death at Camp Miasma and The Brink of War | #1076

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/9fd3aa43-3e55-4d38-a001-b4a500025453/transcript

Anthony Bourdain, whose early experience working in a restaurant kitchen is chronicled in the new biopic Tony, once singled out Ratatouille as Hollywood’s best depiction of working in a restaurant kitchen, which is all the invitation we need to revisit Brad Bird’s 2007 Pixar classic. So this week, with the help of Vulture critic Roxana Hadadi, we consider how Ratatouille trusts its viewers to accept an audacious premise, and rewards them in emotional payoff; parse the nuances and contradictions of its “anyone can cook” mantra; and lament that its lone female character of consequence falls victim to Trinity Syndrome. And yes, of course this group of critics has some thoughts on Anton Ego and the film’s take on criticism. Then in Feedback, we discuss a short excerpt from a much longer, in-depth analysis we received in response to our O Brother Where Art Thou? episode.

Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Anthony Bourdain, whose early experience working in a restaurant kitchen is chronicled in the new biopic&nbsp;Tony,&nbsp;once singled out&nbsp;Ratatouille&nbsp;as Hollywood&rsquo;s best depiction of working in a restaurant kitchen, which is all the invitation we need to revisit Brad Bird&rsquo;s 2007 Pixar classic. So this week, with the help of Vulture critic Roxana Hadadi, we consider how&nbsp;Ratatouille&nbsp;trusts its viewers to accept an audacious premise, and rewards them in emotional payoff; parse the nuances and contradictions of its &ldquo;anyone can cook&rdquo; mantra; and lament that its lone female character of consequence falls victim to&nbsp;<a href="https://thedissolve.com/features/exposition/618-were-losing-all-our-strong-female-characters-to-tr/" data-saferedirecturl="https://www.google.com/url?q=https://thedissolve.com/features/exposition/618-were-losing-all-our-strong-female-characters-to-tr/&amp;source=gmail&amp;ust=1786502059350000&amp;usg=AOvVaw1T8I0nY81RLiD40dh71GH8">Trinity Syndrome</a>. And yes, of course this group of critics has some thoughts on Anton Ego and the film&rsquo;s take on criticism. Then in Feedback, we discuss a short excerpt from a much longer, in-depth analysis we received in response to our&nbsp;O Brother Where Art Thou?&nbsp;episode.
Please share your thoughts about&nbsp;Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730.
This episode is presented by⁠&nbsp;<a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&amp;source=gmail&amp;ust=1786502059350000&amp;usg=AOvVaw1RUSWV5ih4CG5b59vUrHYm">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Anyone can cook, but only the fearless can be great.

Anyone Can Cook, Pt. 1 — Ratatouille

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/2224ce5b-3d94-4b73-819d-b4a3002ae360/transcript

Spider-Man 2 vs. Into the Spider-Verse | Movie Death Match

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