Spider-Noir Officially Revives the Best Element of Sam Raimi’s Spider-Man Films

Image: Columbia Pictures/Everett Collection

Spider-Noir represents a radical departure from previous live-action iterations of Spider-Man. Set against the gritty backdrop of the 1930s, this Prime Video series reimagines Ben Reilly (Nicolas Cage) as a hard-boiled private investigator who navigates the shadows as “The Spider.” Embracing a distinct film noir aesthetic, the show carves out a visual identity entirely unique from both Sony’s cinematic history and the sprawling Marvel Cinematic Universe.

Yet, for all its stylistic innovation, Spider-Noir wisely revives a signature cinematic technique from the early 2000s that many modern blockbusters have inexplicably abandoned.

When Sam Raimi’s Spider-Man arrived in 2002, the film’s most exhilarating sequences were defined by its dynamic web-slinging. The camera often placed the audience directly behind or alongside the hero, or better yet, adopted a visceral first-person perspective that thrust viewers into the dizzying heights of New York’s skyscrapers. Rather than observing the action from a detached distance, Raimi’s camerawork offered a rhythmic, rollercoaster-like immersion. It was a stylistic masterstroke that showcased why Raimi—with his background in frenetic, imaginative horror like Evil Dead II—was the ideal director to bring such a kinetic character to life.

In my view, this POV perspective is just as essential to the Spider-Man experience as the iconic image of Superman in flight.

Regrettably, recent MCU entries featuring Spider-Man have largely bypassed this technique. While Tom Holland’s portrayal certainly features plenty of web-swinging, directors like Jon Watts and the Russo brothers favored more conventional, stable camera placements, missing out on that singular, heart-pounding vantage point.

Some might argue that these POV shots are tethered to Sam Raimi’s specific visual lexicon—and while they certainly carry his thumbprint, they are not his exclusive property. Marc Webb’s Amazing Spider-Man films made a conscious effort to utilize the same perspective. Despite the narrative critiques leveled at those entries, Webb recognized that the POV shot was a non-negotiable ingredient for capturing the visceral thrill of web-swinging.

Omitting this angle feels like a squandered opportunity to truly pull the audience into the web-head’s world. It is a fundamental component of the Spider-Man lexicon, and it belongs in every adaptation. Hopefully, the upcoming Spider-Man: Brand New Day will see its triumphant return.

The premiere of Spider-Noir nails this immediately. As the camera weaves through a 1930s skyline—the Empire State Building looming over the city—The Spider suddenly dives into the frame. We catch glimpses of him swinging past buildings and ducking around trains before the perspective snaps to a direct POV. As his arm reaches out to launch a web, the city unfurls before us in a wide, breathtaking vista. It lasts only a few seconds, but that momentary shift in perspective makes you feel exactly what it is to be Spider-Man.

I recently discussed this aesthetic choice with Harry Bradbeer, director of the first two episodes of Spider-Noir. When asked about why he chose to honor the classic Raimi-style swing, his reasoning was succinct: it is about the fundamental connection between the viewer and the hero.

“It places you directly inside the character’s experience, and that’s what makes it so thrilling,” Bradbeer explains. “There’s that palpable sense of vertigo, much like a rollercoaster. It’s an incredibly effective, simple way to invite the audience to share in that same adrenaline-fueled rush.”

Spider-Noir is currently streaming on Prime Video.

Source: Polygon