Miles Morales

Sunflower had been out there for a while when Post Malone and the rest of the Into the Spider-Verse soundtrack finally hit streaming—the full thing with Nicki Minaj, Juice WRLD, Lil Wayne, all of it. It doesn’t feel like a typical superhero tie-in album, more like hip-hop that happened to come from a movie.

The film centers on Miles Morales as Spider-Man. He meets an older Peter Parker from another dimension, discovers he’s caught in the middle of something bigger—the Kingpin’s built a device that tears holes between universes, so now there’s a whole crew of different Spider-people, different versions and genders and eras, all pulled into the same fight. The animation is deliberately unpolished, all sharp lines and color bleeding wrong, like watching a living comic book.

The music anchors Miles in reality while the visuals get increasingly abstract. He’s a kid in Brooklyn with contemporary taste, and the soundtrack follows him there. It’s not decoration layered on top of the action—the hip-hop is essential to what the film is trying to do.

Most superhero movies chase everything at once: prestige, spectacle, comedy, drama. This one just commits to what it is. A story about a kid discovering he has powers, told alongside music that feels current and real. No reaching for something larger. Just the film doing its thing.