One of the key elements that made the first two Spider-Verse movies so enjoyable was the inclusion of many lesser-known Spider-characters that Sony could legally feature. Audiences, particularly those unfamiliar with comics, grew fond of characters like Hailee Steinfeld’s Spider-Gwen, John Mulaney’s Spider-Ham, and Nicolas Cage’s Spider-Man Noir. Buoyed by these successes, Sony has attempted to replicate this magic with other figures from the Spider-Man universe, such as Venom and Madame Web, with varying degrees of triumph.
Amazon’s live-action Spider-Noir series is Sony’s latest venture to capitalize on the Spider-Man franchise outside of Marvel’s influence. This show, which is a comedic nod to the gritty crime dramas of Hollywood’s Golden Age, takes a lighthearted approach with tenuous connections to the Spider-Verse films. While visually captivating—especially in its black-and-white version—Spider-Noir lacks the narrative depth that characterized Sony’s most successful Spider-Man projects.
Instead of reprising Cage’s role as the animated Spider-Verse hero, Spider-Noir introduces Ben Reilly. Known in yet another universe as “The Spider,” Reilly is a brooding vigilante whose girlfriend’s tragic death prompts him to abandon his superhero persona for a career as a private investigator in New York City.
After five years assisting Reilly, his secretary, Janet (played by Karen Rodriguez), is well aware of his uncanny danger sense and photographic skills, though his neglect in securing new clients has left her unpaid for months. Just as Janet is about to quit, Reilly takes on a seemingly mundane case that leads him to encounter the sultry nightclub singer, Cat Hardy (Li Jun Li), and entangles him with mob boss Silvermane (Brendan Gleeson) and his bumbling henchmen. Reilly is taken aback when his investigation unveils connections to superpowered individuals like Flint Marko (Jack Huston).
Spider-Noir bears little resemblance to Marvel’s 2009 Spider-Man: Noir comic series and diverges significantly from Cage’s Spider-Verse portrayal. This might have been acceptable if the show offered a fresh narrative or committed fully to a dramatic approach. However, Reilly’s story arc revisits familiar Spider-Man themes, such as the classic mantra of power and responsibility, which have been explored repeatedly. Additionally, the show’s frequent reliance on cheesy humor detracts from its potential to deliver a genuine noir experience.
Spider-Men, regardless of the universe, tend to be witty, but Cage’s exaggerated performance here occasionally crosses into cringe-worthy territory, underscoring why this character—or a variation of him—thrived as an animated figure. Alternating between an unconvincing James Cagney impression, a smooth-talking Humphrey Bogart type, and an eccentric with awkward romantic chemistry, Cage’s portrayal of Reilly is at its most engaging when he is introspective. Yet, these moments are often cut short as the series rushes through its predictable storyline.
It’s a shame because the show is gorgeous and it’s clear that Cage is having fun with the role. But that’s not enough to make Spider-Noir a show that you need to see. Rather, the show feels like the result of Sony learning the wrong lessons from its previous wins. And it’s a reminder that we’re still a ways out from getting back to the good stuff.
Spider-Noir also stars Lamorne Morris, Abraham Popoola, Lukas Haas, Andrew Lewis Caldwell, and Jack Mikesell. All eight episodes premiere on MGM Plus on May 25th and on Amazon Prime beginning May 27th.
