Spider-Man: Into the Spider-Verse swung into theaters in December of 2018 and immediately captivated audiences with its revolutionary take on the beloved superhero genre and breathtaking animation style. Directed by the talented trio of Peter Ramsey, Rodney Rothman, and Bob Persichetti, this animated masterpiece defied conventions and soared to unprecedented heights.

The film successfully introduces the concept of the multiverse and seamlessly weaves together the stories of various Spider-People from different dimensions. At its core, the film follows the journey of Miles Morales (Shameik Moore), a teenager grappling with newfound powers in the wake of the death of his universe’s Spider-Man. His world is spun even more out of control as he meets alternate universe heroes that make him question if he is ready for his new responsibilities.

Accolades poured in for the film, with the crowning achievement being the Academy Award for Best Animated Feature. This recognition affirmed not only the technical brilliance of the animation but also the emotional depth and storytelling prowess that elevated Into the Spider-Verse beyond the status of a mere superhero film.

As first time viewers delve into the intricate web of dimensions and the extraordinary journey of Miles, it becomes clear that Spider-Man: Into the Spider-Verse is more than a cinematic experience – it’s a groundbreaking achievement that redefined expectations for animated storytelling in the West and left an indelible mark on the superhero genre.

In this Movie List from The Film Magazine, we are highlighting the 10 best moments from the film that define why Spider-Man: Into the Spider-Verse continues to enthral audiences, and we will explore its legacy as one of the best comic book movies of all time.

Follow @thefilmagazine on X (Twitter).

10. Welcome to the Spider-Verse

This is how you start a movie.

The rising intensity of the opening music. The glitching of the studio logos. The flashes of graffiti. Then blam: the intro fully kicks in and we are treated to the visual feast that is this movie. An explosion of colours and funky graphics inform us that Into the Spider-Verse is unlike any other comic book movie in that it is unashamed of its genre.

Following this is the opening monologue from Peter Parker (don’t get too attached), beginning the recurring “Alright, let’s do this one last time” gag. Peter, voiced by Chris Pine, gives a brief rundown of things most audiences will already know, narrating his life and the responsibilities that come with being Spider-Man. Yes, we’re technically seeing another screen Spider-Man origin story, but the writers make this one concise and fresh. This self-awareness lends itself nicely to some humorous moments, such as detailing the smaller Spider-Man duties, like having his own cereal or recording a Christmas album. 

Furthermore, there are plenty of references to Spider-Man in pop culture for fans to feast on. Did anyone expect them to reference the abominable Spider-Man popsicle? The animators even draw comparison to other Spidey iterations on screen, like the upside down kiss, the train scene in Spider-Man 2, and the legendary dance scene from Spider-Man 3.

It is the film’s thesis statement: funny, fast-paced and visually spectacular. The perfect introduction to one of the most unique comic book movies. Simultaneously, these opening 2 minutes are a celebration of all things Spider-Man, and a reminder why the iconic hero has endured for so long on page, on screen, and in wider popular culture.

Recommended for you: 10 Best Moments from Sam Raimi’s Spider-Man Trilogy

9. Meet Miles

A film is arguably only as good as its characters, and a film filled with fantastical Spider-people could have a hard time making its protagonist stand out. Within seconds of meeting Miles Morales, its clear audiences have a beloved hero to root for.

The first time we see Miles, he is caught up in his passions: artwork and music. His singing is gradually drowned out by his parents calling his name. He is pulled out of his daydream and into an all too relatable scenario – a teenager late for school. 

This quickly transitions to a high-energy montage showcasing Miles’ daily life, complete with the vibrant backdrop of Brooklyn. We are immersed in the sights and sounds of Miles’ world as they see a new side to him. As he walks through his neighbourhood, he is cool and approachable. His effortless charm makes him instantly likable. The dynamic animation, coupled with a hip-hop soundtrack, creates a sense of kinetic energy that mirrors the pulse of Miles’ urban environment. As Miles parades through the streets, leaving stickers of his artwork, he trips and is caught by his dad, a police officer. We are reminded that, despite his coolness, he’s still an awkward kid. These relatable struggles form the necessary strong connections between Miles and each of us.

These first moments with Miles do more for the film’s central character than a lot of comic book movies manage to do in their entire runtime. Miles’ humour and occasional awkwardness make him endearing. He embodies the youthful enthusiasm and idealism associated with adolescence, making him a perfect vessel for audiences diving into this larger than life story.

Film gets me where I live like little else and has done ever since I was a teenager. It’s almost impossible to pick just 10 films to stand in for over a century of my favourite form of artistic expression, so what follows are a combination of groundbreaking, ageless films and the most personally impactful cinematic works for me, today. 

Follow me on X (Twitter) – @SSPThinksFilm

10. Spider-Man: Into the Spider-Verse (2018)

Spider-Man: Into the Spider-Verse Review

This one’s a twofer. I love animation and I love superhero movies, and Spider-Verse is one of the finest examples of both to release in the last decade.

After being bitten by a radioactive spider, awkward teen Miles Morales (Shameik Moore) is thrust into inter-dimensional superherodom when his universe’s Spider-Man is killed in action. Miles must overcome self-doubt and team up with the many very different spider-people from other realities to stop his, and all other worlds, from being destroyed. 

Animation is cinema, it has the potential to visualise anything you can imagine, and while I could have picked any number of films from Studio Ghibli, Laika, Disney or Pixar, nothing else was as revolutionary and influential to the medium’s aesthetic than Sony Picture Animation’s Spider-Verse in recent years. This didn’t look or feel quite like anything else, a living comic book packed with pleasing details and gags referring back to print mediums and constant movement and dynamism. 

Few adaptations of popular characters manage to sum up their very essence with a single perfect phrase, but this film distils it all with “anybody can wear the mask”. So many superhero movies get the basics fundamentally wrong, but this gets it just so right – Spider-Man has always had incredible powers but struggled to balance his superhero responsibilities with everyday ones, and the same goes if you’re a dual heritage teenager, a cartoon pig or a black-and-white detective voiced by Nicolas Cage.

Recommended for you: Spider-Man Movies Ranked

9. The Wizard of Oz (1939)

The titanic cultural influence of the MGM fantasy musical The Wizard of Oz is often criminally overlooked. Musicals speak to me as a form of extroverted expression I could never hope to take part in myself, but Oz also stands for the whole fantasy genre.

This rough adaptation of L. Frank Baum’s children’s fantasy novel follows young Dorothy Gale (instant star Judy Garland), a Kansas dreamer who is swept away to the magical land of Oz by a tornado where she is persecuted by the Wicked Witch of the West (Margaret Hamilton, still terrifying) as she quests to find her way home.

It wasn’t just the way film musicals were staged for decades it inspired, either. Next time you watch Peter Jackson’s Lord of the Rings Trilogy and see the orc armies marching past the gates of Mordor, think about how similar the blocking and the aesthetic is to the patrols outside the Wicked Witch’s castle.  Speaking of the Wicked Witch, you know the classic green-skinned, warty-nosed, pointy-chinned default look for such characters at Halloween? That comes from this film as well. And Margaret Hamilton’s all-timer of a baddie performance in contrast to the uncomplicated good of Dorothy and her companions is still one to behold. 

The “it was all a dream, or was it?” story structure is clichéd now, but this helped start it all. Startling Technicolor fantasy is kept entirely separate from sepia reality (the moment one world becomes the other still takes your breath away), but there is always that playful, winking final scene for you to hope that Dorothy perhaps has further adventures on her horizon. 

Sony’s Spider-Man (2002) is unquestionably one of the forefathers of superhero cinema as we know and love it to be, and Sony’s further Spider-focused films (plus several major spin-offs) are some of the most popular and influential blockbusters of the 21st century.

In this edition of Ranked, we at The Film Magazine are counting down each Spider-Man Universe feature-length theatrical release from worst to best, judging each inclusion by its own artistic merits, critical reception, and importance to its genre and cinema as a whole.

Follow @thefilmagazine on Twitter.

13. Morbius (2022)

Morbius Review

Very little was expected of Sony’s Spider-villain-verse entry Morbius when it was revealed to be hitting our screens in 2020, but when it finally arrived after mass delays the low bar for “acceptable” superhero/villain cinema was… barely met.

Jared Leto worked hard to carve someone interesting out of a character with little by way of development, and the pacing was rapid (which is particularly impressive as a lesser Spider-Man entry), but Morbius ultimately felt like the best moments from other films thumb-tacked into a CGI mess that left said moments absent of meaning or purpose.

A lot seemed to happen in this 2022 film, yet very little gave us a reason to care for the characters, and the feature’s almost complete absence of threat only compounded this issue. It would be a stretch to claim that Morbius was trying to say anything about anything – it certainly wasn’t allegorical of past or present human issues like most vampire films, nor presenting a particularly obvious audience fantasy like other superhero movies – and it did little-to-nothing to make it look, sound or feel unique within its franchise.

Like Venom before it, Morbius was a film that seemed to be made for audiences of the mid-2000s, and yet unlike Venom it lacked all of the charisma needed to carry its more corny or less inspired moments. Even the post-credits’ mildly exciting previews of other films to come couldn’t save this one from the title of “worst Spider-Man movie”.

12. The Amazing Spider-Man 2 (2014)

The Amazing Spider-Man 2 was bad. The sad, grim reality is that this Marc Webb-directed film was so badly received critically and at the box office that Sony finally caved in and brought Marvel Studios back to the table, in effect admitting their own inadequacies as regards their treatment of the character and thus sacrificing some of their multi-million-dollar profits to rival studio Disney in an attempt to fix their mistakes.

The major issue with The Amazing Spider-Man 2 is its woeful screenplay, written by Alex Kurtzman and Roberto Orci of Transformers, Star Trek and The Mummy (2017) fame. In this fifth live-action franchise entry, focus shifts from a sub-par, by-the-books plot surrounding Peter Parker (and particularly his on-and-off-again relationship) to the life of his hard-working Aunt May, the reason apparently being to ensure Sally Field got her share of the run-time, the amount of space given to prominent comic book characters elsewhere in the film sacrificed as a result, the run-time dragging on to a tiresome 2 hours and 22 minutes.

Despite featuring a stellar cast including star Andrew Garfield, Emma Stone, Sally Field, Jamie Foxx, Dane DeHaan, Felicity Jones and Paul Giamatti, The Amazing Spider-Man 2 features some of the most ridiculous cases of over-acting in the entire franchise, every highly paid professional seemingly acknowledging the standard of movie they were in even ahead of it being released. This, mixed with a woeful narrative, worse dialogue and a Spider-Man 3 level problem of filling up the movie with characters for an expected “Spider-verse”, make The Amazing Spider-Man 2 one of this beloved franchise’s certifiably lesser releases.

11. The Amazing Spider-Man (2012)

A considerable improvement on The Amazing Spider-Man 2 is the film that preceded it, The Amazing Spider-Man, a feature that made a new-look Spider-Man franchise feel viable once again; Marc Webb’s inexperienced but grounded take on the web-slinger being refreshing enough to earn the film a number of favourable reviews and Andrew Garfield’s Spider-Man a number of fans.

Inevitably, the creative decision to just re-do the Peter Parker Spider-Man origin story we’d seen just 10 years prior (that’s like seeing Iron Man rebooted in 2018…) was not the smartest idea, and even though director Marc Webb and company managed to effectively avoid revisiting a lot of the tropes established in Sam Raimi’s franchise, the dye was cast for what would come to be diminishing returns for the series.

A more sarcastic, some would say millennial, take on Peter Parker was the film’s shining beacon, but the studio’s obvious hesitation to try anything entirely new was evident, this 2012 release feeling every bit as much of a part of the preceding decade as its Sam Raimi-directed brethren, only with less charm and less to offer in terms of visual awe, unique scenarios and social commentary.

The Amazing Spider-Man makes for a good, although mostly irrelevant, watch; one that does just enough to keep you engaged but never once takes a stride towards creating something special.

Spider-Man: Across the Spider-Verse (2023)
Directors: Joaquim Dos Santos, Kemp Powers, Justin K. Thompson
Screenwriters: Phil Lord, Christopher Miller, Dave Callaham
Starring: Shameik Moore, Hailee Steinfeld, Oscar Isaac, Jake Johnson, Issa Rae, Bryan Tyree Henry, Luna Lauren Velez

After four long years, the sequel to the “electric, atmospheric festival of colour” that was Sony Pictures Animation’s Oscar-winning, genre-defining, form-shaping Spider-Man: Into the Spider-Verse has arrived. The film that fought against a tried and tested formula, that rewrote the lore of a studio staple, that was so fresh and interesting it was almost as if it should have never existed, was such a critical success that perennial safety shooters Sony were willing to experiment once again. This time, Miles Morales and company, under the stewardship of original co-writers and producers Phil Lord and Christopher Miller, are rewriting even more of the rule book.

Shameik Moore’s cool and relatable hero is introduced to a wider spider-verse by Hailee Steinfeld’s returning Gwen Stacy, who takes on a more central and well-rounded role in this highly-anticipated sequel. The heroine uses portal devices to cross between a multi-verse of spider-people as she and Miles experience grave family struggles. The concept of the multiverse may have been overplayed in recent years, but so rarely has it seemed this original, dynamic and brimming with life, and only in Into the Spider-Verse have the personal stakes been this high.

There are spider-people and spider-creatures galore, the cameos and more influential inclusions each being illuminated by an array of animation styles, a cornucopia of unique audio-visual elements. There are eye-widening design choices and smile-inducing casting choices, and every promise Sony’s marketing department offered in Across the Spider-Verse’s trailer is spectacularly realised.

Across the Spider-Verse is the longest animated feature in history at 2 hours and 20 minutes, but it leaves barely a moment to blink, the rapid and ever-original action slowing only to propel moments of inner conflict, interpersonal dynamics or existentialism to the forefront. Every central character is well taken care of, the beating heart that made the original so comforting and charismatic still intact – every development in Across the Spider-Verse feels at one with the film that came before. This is more than a good sequel that ramps up all that we enjoyed about the original, it is a reach into an unknown pool of perfection, a ginormous studio-backed swing at something special.

This version of Spider-Man has undergone one of the more trying coming-of-age tales of the feature film spider-people we’ve seen across various live-action franchises to date, and the connection this has forged between us and him ensures that each of his potentially multiverse-altering choices is felt from the off. Lord and Miller, who worked on the original Spider-Verse and fellow Sony Pictures Animation film Cloudy with a Chance of Meatballs, have always given a lot of room for character choices in their texts. And, in a world of so many moving parts – characters, narratives, themes, animation styles – it is testament to their commitment to character choice that Across the Spider-Verse manages to capture the same connection as the original.

There is a short period in the middle of the film where the narrative sags a little, and certainly more could have been done to develop one of the film’s two central villains and the extent of their powers in the first half of the film – where we are left guessing as to just how much of a threat this character could be and what this might mean for Miles and Gwen – but these pitfalls are barely noticeable among the pantheon of extraordinary efforts made to excite and ignite our imaginations. In these moments, comedy, cameos, references and soundtrack take the lead, each expressively exploding out of the animation.

As an animated film, there are few contemporaries. Not since Toy Story rewrote animated feature history in the mid-90s had mainstream western animation been evolved and shunted forward with such force as in Into the Spider-Verse, and Across the Spider-Verse is somehow even more eccentric. Whether it be minutes of black and white sequences, pen lines and all, or watercolour constructions that change colour to match the conflict apparent in the dialogue, Across the Spider-Verse is an Oscar-winning short film’s unique and ultra-expressionistic sensibility attached to a mainstream intellectual property and presented by over 1,000 of the world’s best animators. It’s wondrous stuff, the kind of style that is worthy of the film’s dream-factory concept.

Spider-Man: Across the Spider-Verse is why people go to the cinema. It is why you should go to the cinema. It is a phenomenon of style and substance that begs to be seen on the big screen. Lord and Miller, and their partners at Sony Pictures Animation, have once again captured lightning in a bottle. Across the Spider-Verse is ultra modern storytelling that captures the personality, fears and ambitions of our current era – it is eye-popping spectacle and hearty, moving passion side-by-side. As a sequel, we must consider this among the pantheon of greats that Spider-Man 2 (2004) belongs to, and as an animated film this is a certified all-timer. There’s no doubt that you’ll be left wanting more, but as things are… Spider-Man doesn’t get better than this.

Score: 22/24

Recommended for you: Spider-Man Movies Ranked

The Mitchells vs. the Machines (2021)
Directors: Michael Rianda, Jeff Rowe
Screenwriters: Michael Rianda, Jeff Rowe
Starring: Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, Charlyne Yi

Between Into the Spider-Verse and The Mitchells vs the Machines, Sony Pictures Animation are in a league of their own. Nobody else is creating animated features with the same energy, emotion and visual uniqueness quite like the creatives currently found at this studio.

Aspiring filmmaker Katie’s (Abbie Jacobson) plans to start college and finally “find her people” are scuppered by her dad Rick’s (Danny McBride) misguided insistence that they bond one last time on a road trip that will take Katie on the scenic route to college. On the way in and amongst all the expected family squabbles, a planet-spanning robot uprising caused by the scorned operating system of the world’s largest tech company occurs and forces the Mitchells to pretend to be a fully-functioning family unit for the sake of the human race’s survival.

Like Spider-Verse, Mitchells looks like nothing else. It’s CG-animated, but incorporates hand-drawn elements, live-action footage, even DIY puppetry (sometimes all in the same shot). The pitch for both films by producers Phil Lord and Christopher Miller was to retain the rough energy and dynamism seen in early concept art and storyboards for animated movies in the final product, and that target has been hit dead-centre.

Early on, the Mitchells are branded by a helpful on-screen graphic as the “worst family of all time”. The fact that the first we see of them is their haphazard attempted escape from the robo-apocalypse in a crappy brown station wagon while completely and utterly failing to coordinate their actions or work together fully cements this idea. Certainly on the surface, compared to perfect human beings their neighbours the Poseys (Chrissy Teigen, John Legend and Charlyne Yi) appear to be, the Mitchells seem to be found wanting, to put it mildly. But ultimately, this is a film about why none of that really matters.

Writer-directors Mike Rianda and Jeff Rowe, and their passionate animation team, bring to life a vivid and beautiful CG/hand-drawn hybrid world and story that’ll leave you crying with laughter and just plain crying, especially if you’re from a family of weirdos yourself. When this project was originally announced it was called ‘Connected’ so it’s highly appropriate that that’s what it’s all about: human connection. 

On the cry-laughing front the visual inventiveness and quick-fire rate of the gags is in danger of leaving you needing medical attention from inadequate oxygen supply, everything from the family pulling grotesque faces at Rick as he insists on phones down and eye contact during their evening meal to Katie’s liberal peppering of knowing movie references (only the slightest bit annoying), from youngest Mitchell Aaron (Mike Rianda) getting upset over non-anatomically correct dinosaurs to the surreal nightmare fuel that is a giant demonic Furby declaring “Let the dark harvest begin!”. Monchi, the family’s pug with astigmatism, probably deserves to be a thesis focus all his own, acting as the family’s mascot and whose unique shape hilariously proves to be a robot Achilles heel as they malfunction trying to decide what he actually is (“dog-pig-dog-pig-LOAF OF BREAD!”).

This is one of the great dysfunctional family films about parents and children who mean well but continually fail to communicate, who are ultimately both helped and hindered by modern technology along the way. Katie processes her experiences and expresses herself through technology, through making her art, and Rick does the same through handmade craftsmanship and outdoor experiences. They inevitably clash over their very different views of the world and out of guilt at having grown apart as Katie has gotten older. Ferocious father-daughter arguments over fundamental misunderstandings rack up one after the other before it is revealed just how much Rick has sacrificed for Katie’s sake and how their bond can be repaired, stronger than ever (that’s the just plain old crying part of this movie). The final “Live Your Life” musical action sequence is a real punch-the-air feelgood moment and a wonderful conclusion to both characters’ arcs.

The Mitchells vs the Machines is also notable for its LGBTQ+ representation, having Katie front-and-centre, visible and not closeted despite the added hurdles it would give the film to be sold in some international territories. Her sexuality isn’t an issue to her or her family, it’s just a part of the many facets that make up Katie Mitchell alongside her imagination, her goofy sense of humour and her complete loyalty to her often annoying family.

It’s telling of the completely genuine place the film comes from that its end credits feature cast and crew family photos and the real inspirations behind the Mitchell clan. The Mitchells vs the Machines is another game-changer from Sony, a hilarious, inventive and big-hearted family sitcom turned disaster movie that, in 2021, proved to be one of the few genuinely bright sparks of hope released in a particularly trying year. 

23/24

Recommended for you: Sony Pictures Animation Movies Ranked

Spider-Man: Into the Spider-Verse (2018)
Directors: Bob Persichetti, Peter Ramsey, Rodney Rothman
Screenwriter: Phil Lord
Starring: Shameik Moore, Chris Pine, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, Zoe Kravitz, John Mulaney, Kimiko Glenn, Nicolas Cage, Kathryn Hahn, Liev Schreiber

Sony Pictures Animation’s hotly anticipated Spider-Man: Into the Spider-Verse promised to take the idea of cross-dimensional travel and superhero team ups to the next level through a brand new animation style filled with vibrancy and life. Oh boy did they deliver.

Into the Spider-Verse is simply an unforgettable animated movie experience, a soft opening drip-feeding the less usual elements of its original visual style and potentially complicated central story arc in a way that was easy to digest, the impactful, exciting and often moving narrative beats consequently hitting you like a rush of blood to the head, the aesthetic wonderment of the film’s comic-book-inspired visuals pulsating from the screen and screaming “look at how cool this is!”

This animated feature is simply bursting with life, every frame filled with colour and an energy to its motion, its youthful exuberance right on the pulse of youth culture from the ideals and concerns of its central character to the fashions and technology used by the cast, right through to the pulsating beat of the soundtrack.

And it’s layered too…

Into the Spider-Verse relies upon some pre-existing knowledge of the Spider-Man universe, sure, and the joyful experience is bound to be increased if you’re at least somewhat familiar with the character, but it offers enough uniquely comic book style explanations to get itself through what would usually be tedious expository dialogue, and ultimately offers a cast made up of some truly fleshed out characters and one of the best central protagonists in any superhero movie ever – Miles Morales is someone you can’t help but want to see succeed. It’s a feeling emphasised by the piece’s unusual take on an origin movie – that being an inter-dimensional team-up of sorts – that (alongside the fantastic and original animation) distracts from some of the movie’s more clear-cut tropes and cliches, creating the feeling of an entirely fresh and distinct piece of work in every aspect.

It is for this reason that Into the Spider-Verse becomes transcendent of what it could have easily fallen into the trap of being: a superhero movie for comic book superhero fans. It simply screams too loudly and holds too tightly to be relegated to such a position; a truly fantastic achievement.

Visually, the team at Sony Pictures Animation have achieved something extraordinary, their new technologies taking the comic book visual form and firmly stamping it into the mainstream cinema experience. The film is awash with colour and an almost palpable electricity as a result, every single frame rendered with some of the most beautiful and striking visuals in any film this year. It’s in this respect that Into the Spider-Verse is really sent over the edge as an overall movie; the visual construction wrapping an otherwise solid picture in something so spectacular and original that it is absolutely monumental, and will guarantee that audiences (if not the industry itself) will look back upon this film as a game-changer and history maker of our time.

This electric, atmospheric festival of colour is simply fantastic; a memorable and hearty superhero film with a revolutionary take on its own medium, a treasure of this year in cinema and absolutely the very best in Sony Pictures Animation’s studio history. This may even be the best superhero film of 2018.

21/24

Speaking in a statement released just moments ago (June 20th / 21st 2017), Kathleen Kennedy said:

“Phil Lord and Christopher Miller are talented filmmakers who have assembled an incredible cast and crew, but it’s become clear that we had different creative visions on this film, and we’ve decided to part ways. A new director will be announced soon.”

Lord and Miller, who garnered critical acclaim at the helm of beloved comedies Cloudy With A Chance of Meatballs, 21 Jump Street and The Lego Movie, also released a statement:

“Unfortunately, our vision and process weren’t aligned with our partners on this project. We normally aren’t fans of the phrase ‘creative differences’ but for once this cliché is true. We are really proud of the amazing and world-class work of our cast and crew.”

The yet-to-be-titled Han Solo movie is set for a 25th May 2018 release date and will star Alden Ehrenreich as the beloved Star Wars character, with Donald Glover, Thandie Newton, Emilia Clarke and Woody Harrelson bringing their star power to the rest of the cast.

Details on the plot of the film are being tightly guarded, though it has been suggested that Phil Lord and Christopher Miller were seeking to bring a self-referencing comedic sensibility to the universe. The exit of the respected directors will no doubt leave many questioning the future of the Han Solo film and the wider universe of Star Wars spin-offs, though with reportedly over $100million already spent it is very unlikely that at least some of Lord and Miller’s film won’t make it into any final cut that is released in cinemas.

Recommended for you: Star Wars Live-Action Movies Ranked