Critic Reviews

A big swing — oh, yes — that pays off from start to finish, this is an irresistible concoction, an utterly insane stew that somehow makes perfect sense. It is total joy.

A marvelous mesh of style, homage and deconstruction, “Spider-Noir” is the year’s top TV treat so far.

"Spider-Noir" is one of the most exciting and creatively fertile superhero works to be released in the last couple years, and while it may be a bit batty, I think it's the bee's knees.

By the end of its eight episodes, Spider-Noir does what it set out to do: prove that a superhero adaptation can still take risks.

Stylish, amusing, and action-packed, it’s a stand-alone tale of spectacular proportions.

Spider-Noir hews closely to the familiar tropes of the detective tale, but it never feels like parody. It just feels like the answer to the question “What if someone made a 1930s noir about a P.I. with spider powers?” I cannot express how much pleasure I take in typing those words. It still makes no sense that this show exists. But it’s wonderful that it does.

That the series houses its mad science experiments and cartoonish fight scenes in familiar packaging goes a long way toward keeping it accessible, but the charming eccentricities and their astute implementation add up to a Spider-story worth investing in — bring on the strange.

It’s a sharp, often funny binge-show anchored by Nicolas Cage’s go-for-broke performance as Ben Reilly, aka The Spider.

Fortunately, there’s enough to the show’s plucky protagonists and rich sense of style to make up for its storytelling shortcomings. In fact, Spider-Noir is far better than such a frivolous spin-off has any right to be, with Cage deserving of high praise as the lynchpin that holds it all together.

Spider-Noir is a good looking show, that should be fun to watch in either black-and-white or color, but it’s boosted by Cage’s performance and a knack for nailing the classic detective noir genre.