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Spider-Verse is all fourth and fifth dimension multiplicities–intersectionality and concurrent realities aglow in one big colorful valentine to the Brooklyn that never will be gentrified.

Above all, there’s a sense of style that laboriously weighs down the film’s substance in an artifice that sinks into contrivance.

A dreamy, funny, self-aware, visually explosive delight, with a sharper sense of humor than the sophomoric, wearying Deadpool, a keener, more kinetic sense of action than most of the live-action Avengers films (save maybe Ant-Man), and richer ideas than most of the visually muddy, self-serious DC films we’ve gotten to date.

It puts super-friend animation into dazzling modernist form while it spins a narrative of bardic proportions.

Whoever says Into the Spider-Verse is about “fun” doesn’t understand movies or anything about how 21st-century media operates — particularly the exhausting Marvel franchise.

Phil Lord—one half of the duo responsible for The Lego Movie and 22 Jump Street—cowrote this animated Marvel Comics adaptation, and like the films he codirected, it exhibits a free-for-all wackiness reminiscent of 1930s Looney Tunes.

Its jaunty, brightly colored inventiveness and its kid-in-the-candy-store appetite for pop culture ephemera give “Into the Spider-Verse” some of the kick of the first “Lego Movie.”

To answer Greenaway, who may well have overestimated previous centuries’ familiarity with classical literature and even the Bible, no prior knowledge of this recondite material is required for its enjoyment. Spider-Man: Into the Spider-Verse is funny in itself and visually dazzling for its own sake.