I think that it's impossible to not like something in Into the Spider-Verse.

Rating: 10/10 (10 February 2020)

Despite being touted as a Lord/Miller return project, with what seems to be little of their actual involvement, the real star is the incredible editing and overload of visual styles and the completely relatable and believable (but not forced) characterisation of mixed-race star of Miles Morales.
Into the Spider-Verse is (obviously) a hilarious, creative, exciting, surprising and engaging elseworld fusion and re-invention of Spider-Man, and while they had to go animated to give a mixed-race Spider-Man his due (and some strong, feminine, and different female characters as well), it may have completely done Morales justice. Free of the shackles of Raimi's live-action post-9/11 America-pandering version of Spider-Man, Spider-Verse is allowed to make something clever out of the whole time-paradox-rebootquel trend popularised by 2009's Star Trek - except here it's deftly handled, gentle and most of all, fun; rife for easter eggs and appropriate fan-service; I for one, actually cheered, when I saw the videogame costume in the lair, and the bubbles and comic styles all just gel.
The voice cast is superb, for this reason: they are all great actors but the characters felt entirely like characters, and unlike something from Dreamworks where the characterisations hinge entirely on you recognising the actor's star power, in Spider-Verse I never felt the need to it half way through, I just felt how real these people were. My girlfriend, at the tease of the other Spider-People, said, with a real surprise and light in her eyes: "There's a female Spider-Man??!!" and I realised that I took for granted that I already knew who Spider-Gwen was, and also how powerful it was to see her, and how little I cared whether the Spider-Person was in fact a man or not. In-fact I'd kill to see a live-action Spider-Woman film.
So this film is truly one for fans and one for noobs, and that's rare, I think my partner would have loved it even without me pointing out that I owned the Spider-Noir comic book and without pointing out that, yes, Wilson Fisk is that big in the comics (sometimes), or a myriad of little things that I don't know how I know.
More impactful than anything for me though was that the final fight, when he's all 'alone', was the most tense end fight in the usually predictable, numbing and inevitable superhero final fights. Whereas by the end of most superhero films, the hero has built himself up to win, in Verse, Miles has only just got himself ready to start, in a film that starts with the actual killing of a universe's Spider-Man, you really don't know what it can do, and with a Miles Morales who has only just found himself, and who's an actual kid instead of a thirty-something-year old actor playing a kid, it's nail-biting stuff.
I read an article about how the Spider-Man from the start is the idealised version of Spider-Man, the brand version; perfect, the whole of everything, unrealistic, unreachable. And where that Spider-Man could do it all, it takes the team of Spider-People from different universes, each with their different skills to come together and support each other. More pointedly, The Peter B Parker (B for Ben?) is the hero we can be, he's flawed, he has the same problems as we do, he's neither immaculate, nor immune to the trappings of life, he's the flawed hero, and he's from the main Marvel universe. 'Our' universe. I think that's quite powerful, and certainly a bold decision and one we may never see in a Spider-Man film ever again.