Seventeen theatrical Spider-Man films have been released between 2002 and 2026, from Sam Raimi’s foundational Spider-Man to Destin Daniel Cretton’s Brand New Day. This article ranks sixteen of them using a five-mark framework: Peter Parker Anchor, Villain Depth, Cinematic Ambition, Emotional Payoff and Cultural Footprint, and tells you exactly where to watch each one.
Into the Spider-Verse is at number one. Madame Web is at number sixteen. Everything else fits between them, and the seventeenth film, Spider-Man: Brand New Day, still in its theatrical run, is covered but held outside the ranking until it can be judged on a full run.
Why “Every Spider-Man Film” Includes the Films Spider-Man Is Not In
A comprehensive Spider-Man ranking has to include the films Spider-Man is not in, and that decision has to be defended. Venom, Morbius, Kraven the Hunter, and Madame Web are Sony’s Spider-Man Universe films. Spider-Man does not appear in most of them. They still belong on this list, and the ranking treats them by the same five marks as every other film. Including them without a framework would leave the ranking as vibes; excluding them would leave a coverage gap. This article does both.
The Five Marks of a Great Spider-Man Film
Mark 1: Peter Parker (or Miles Morales) Anchor
Whether the central character reads as a person rather than a plot device. Maguire, Garfield, and Holland all clear it in their solo films; Miles Morales clears it in both animated films. The SSU films largely fail it because they have no Peter Parker equivalent.
Mark 2: Villain Depth
Whether the villain is memorable and thematically resonant, Molina’s Doc Ock, Dafoe’s Green Goblin, Gyllenhaal’s Mysterio, and Keaton’s Vulture are the exemplars.
Mark 3: Cinematic Ambition
Whether the film aspires beyond franchise obligation. Into the Spider-Verse reinvented what animation could look like; Spider-Man 2 staged its train sequence as iconography.
Mark 4: Emotional Payoff
Whether the film earns its climactic emotional moments. The films that earn them clear the mark; the ones that reach for the payoff without doing the work miss it.
Mark 5: Cultural Footprint
The retrospective mark: does the film matter beyond its release window?. It can only be scored on films at least three years old. Newer films are marked Provisional.
Every Spider-Man Film Ranked, From Worst to Best
The ranking counts up from sixteen to one. Each entry carries a five-mark scorecard, a defense of the placement, and one Spider-Man moment worth remembering.
#16. Madame Web (2024)
| Peter Parker (or Miles) Anchor | Misses |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Misses |
| Cultural Footprint | Misses |
| Score | 0/5 |
Where to Watch (US): Streaming on Netflix and Sony Pictures Core. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Somebody greenlit a Spider-Man movie with no Spider-Man, no clear villain, and a hero whose power is watching things happen slightly before they happen. That is not a premise; it is a scheduling conflict Sony filmed anyway. Dakota Johnson has spent the years since making jokes about it in interviews, which tells you how much faith the room had. Nothing here clears a single mark, and the reason it sits dead last is not that it is offensively bad; it is that there is nothing to argue about. Every other film on this list gives you something to defend. This one gives you a shrug.
By the numbers: It grossed roughly $100 million worldwide against an $80 million budget, a loss once you count marketing, and Sony shelved any sequel talk within weeks.
The Spider-Man moment that defines it
The “he was in the Amazon with my mom when she was researching spiders” line, dialogue so strange it escaped the movie entirely and became the only thing anyone remembers.
#15. Morbius (2022)
| Peter Parker (or Miles) Anchor | Misses |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Misses |
| Cultural Footprint | Clears |
| Score | 1/5 |
Where to Watch (US): Streaming on Disney+, fuboTV and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Morbius fails as a film and then does something almost no failure manages: it becomes genuinely useful as a cultural object. The movie is inert. Leto broods, Matt Smith visibly has more fun than the script allows, and the plot forgets its own stakes twice. But the single mark it earns is real, because the “It’s Morbin’ time” meme wave turned a nothing movie into a shared joke big enough that Sony misread it as demand and put the film back in theaters. It flopped again. That sequence of events is more interesting than anything on screen, and that is exactly why it ranks above Madame Web rather than below it.
By the numbers: It finished around $167 million worldwide, and the meme-chasing re-release is one of the decade’s clearest lessons in confusing irony for interest.
The Spider-Man moment that defines it
The post-credit tease of Michael Keaton’s Vulture crossing into this universe, a scene no later film has bothered to explain, because there was no plan behind it.
#14. Kraven the Hunter (2024)
| Peter Parker (or Miles) Anchor | Misses |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Misses |
| Cultural Footprint | Clears |
| Score | 1/5 |
Where to Watch (US): Streaming on Netflix. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
This was meant to be the rebuild. Hard-R rating, a committed lead in Aaron Taylor-Johnson, a serious director in J. C. Chandor, who made Margin Call and A Most Violent Year. The talent was real, and the result still collapsed, which is the most damning thing you can say about it. When good people cannot save a project, the problem was the project. Its one mark is structural rather than earned: Kraven is the film whose failure got the whole “Spider-Man movie without Spider-Man” experiment called off, and that makes it a bookend worth noting even if the film itself is not.
By the numbers: It grossed roughly $62 million worldwide against a budget north of $110 million, the steepest loss of any SSU film, and that failure is what got the experiment called off.
The Spider-Man moment that defines it
The absence of Spider-Man himself, felt in every scene, which turned out to be the entire SSU’s problem stated in a single film.
#13. Venom: The Last Dance (2024)
| Peter Parker (or Miles) Anchor | Misses |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Clears |
| Cultural Footprint | Misses |
| Score | 1/5 |
Where to Watch (US): Streaming on Netflix. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Kelly Marcel wrote all three Venom films and stepped up to direct this one, and you can feel her protecting the only thing that ever worked: Hardy talking to himself. The trilogy was always a two-hander between a man and the voice in his head, a buddy comedy wearing a monster movie’s coat, and when Last Dance lets that breathe, it still lands. The rest is noise. It clears the emotional mark on Hardy’s commitment alone and misses everything else, which is a fitting way for the most watchable corner of the SSU to sign off.
By the numbers: It grossed about $478 million worldwide, softer than the earlier Venom films but built on a budget that did not need their heights, so the trilogy closed in the black even as it wound down.
The Spider-Man moment that defines it
The quiet Eddie-and-Venom conversations that carried three films, given room here to play the double act one last time.
#12. Venom: Let There Be Carnage (2021)
| Peter Parker (or Miles) Anchor | Misses |
| Villain Depth | Clears |
| Cinematic Ambition | Misses |
| Emotional Payoff | Clears |
| Cultural Footprint | Misses |
| Score | 2/5 |
Where to Watch (US): Streaming on Disney+, fuboTV and Starz. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
This is the SSU film most comfortable being what it is: a ninety-seven-minute cartoon about a man and his symbiote squabbling like a couple in counseling. Andy Serkis directs it with no illusions about prestige, and it is better for that honesty. Woody Harrelson’s Carnage earns the villain mark on design and menace, and the Eddie-Venom bickering earns the emotional one on sheer charm. It clears more marks than any other SSU entry, and it does so by aiming low and hitting cleanly, which counts for more than aiming high and missing.
The Spider-Man moment that defines it
Venom taking the mic at a nightclub to deliver what is essentially a coming-out speech, the trilogy at its most gleefully unhinged.
#11. Venom (2018)
| Peter Parker (or Miles) Anchor | Misses |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Clears |
| Cultural Footprint | Clears |
| Score | 2/5 |
Where to Watch (US): Streaming on Disney+, fuboTV, and YouTube TV. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
The critics were right that Venom is a mess, and the audience was right that the mess is fun, and both things holding at once is the whole story of this film. Riz Ahmed’s villain barely registers, and the plot is assembled from spare parts, but Hardy plays Eddie Brock like a man losing an argument with his own body, and that commitment is magnetic. It earns the emotional mark on him and the cultural one on what it started, because without this film clicking with audiences there is no SSU at all. Ranking it just above the sequel is a coin flip that the founding credit decides.
By the numbers: It was the SSU’s launch and its biggest surprise, the film that proved a Spider-Man villain could open a movie on his own.
The Spider-Man moment that defines it
Eddie climbing into a restaurant lobster tank mid-breakdown, the moment the film stops apologizing and commits to being strange.
#10. The Amazing Spider-Man 2 (2014)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Clears |
| Cultural Footprint | Misses |
| Score | 2/5 |
Where to Watch (US): Streaming on Disney+, Netflix, fuboTV, Starz and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Here is the frustration of this film in one line: it has one of the best Peters and one of the worst plots. Garfield is electric, all nervous energy and real tenderness with Emma Stone, and the Peter-Gwen relationship is the most alive thing in either of his movies. Then the film buries him under three villains, a corporate-conspiracy subplot, and a franchise-building mandate that strangles the story it should be telling. It clears the anchor and the payoff and misses the rest, and it lands here because charm cannot outrun a broken structure. It is the film that killed its own series, and you can watch it happen in real time.
By the numbers: It grossed about $709 million worldwide, the lowest of any live-action Spider-Man film to that point, and the number is what ended Webb’s run and rerouted Peter to the MCU.
The Spider-Man moment that defines it
Gwen Stacy’s fall, the single sequence the whole film is remembered for, and the one moment where its reach and its grasp finally meet.
#9. Spider-Man 3 (2007)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Misses |
| Cinematic Ambition | Clears |
| Emotional Payoff | Misses |
| Cultural Footprint | Clears |
| Score | 3/5 |
Where to Watch (US): Streaming on Netflix, Hulu, fuboTV and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Spider-Man 3 is the sound of a great director losing an argument with his studio. Raimi wanted Sandman as his tragic center; the producers wanted Venom, and the film carries both plus a third villain, and you can feel the seams. What saves it from the bottom half is that Raimi’s instincts never fully switch off, and his willingness to take Peter somewhere genuinely weird earns the ambition mark even when the execution wobbles. It misses the emotional mark because the film loses its own thread, but it clears the cultural one for a reason nobody intended.
By the numbers: It was the biggest opening of the trilogy in its day, proof the audience was there even when the film could not hold them.
The Spider-Man moment that defines it
The strut. The “emo Peter” dance down the street, mocked on release and immortal since, one of the internet’s most durable comic-book texts.
#8. The Amazing Spider-Man (2012)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Misses |
| Cinematic Ambition | Misses |
| Emotional Payoff | Clears |
| Cultural Footprint | Clears |
| Score | 3/5 |
Where to Watch (US): Streaming on Disney+, Netflix, fuboTV, Starz and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Made for a reason nobody wanted, remembered better than it deserved. This reboot existed because Sony needed to keep the rights warm, and everyone could feel it in 2012. What has aged well is Garfield, whose Peter is sharper and more physical than the version before him, and his chemistry with Emma Stone, which is the film’s real special effect. The Lizard is a nothing villain and the origin is one we had just seen, but No Way Home sent so much goodwill back this way that the film reads warmer now than it did new. It clears the anchor and the payoff and rides the reappraisal into the middle of the list.
The Spider-Man moment that defines it
Peter earning his relationships in the small beats, the film at its best when it stops rebooting and just lets two people talk.
#7. Spider-Man: Far From Home (2019)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Misses |
| Score | 4/5 |
Where to Watch (US): Streaming on Disney+, fuboTV and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
A well-liked film that gets overshadowed more than it should, though not the way its fans insist. Far From Home had the impossible job of following Endgame, and instead of buckling, it uses that grief as fuel, a kid trying to take a vacation from a world that just lost its heroes. Then Gyllenhaal walks in and quietly gives the franchise one of its best villains, a wounded egomaniac whose illusion sequences are the most inventive filmmaking in Watts’s trilogy. It misses only the cultural mark, and only because it sits in the shadow of the film it set up. The highs are real even if the first act drags, which is why it lands among the better films here rather than the greats.
The Spider-Man moment that defines it
The illusion fight, where Mysterio traps Peter inside his own doubt,t and the film briefly becomes a horror movie about inadequacy.
#6. Spider-Man: Homecoming (2017)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Misses |
| Score | 4/5 |
Where to Watch (US): Streaming on Disney+, Netflix, fuboTV and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
The reset that finally got the age right. Holland’s Peter is an actual teenager, small and eager and in over his head, and Watts leans all the way into a John Hughes teen movie where the climax is getting to a school dance. What makes it more than charming is Keaton, whose Vulture is a working man with a grudge and easily one of Marvel’s best-written villains. The car-ride scene where he works out who Peter is may be the most sustained tension in the trilogy. It clears four marks and misses only the retrospective one, which time may yet hand over.
The Spider-Man moment that defines it
The car ride to the dance, Keaton slowly connecting the dots while Peter sits frozen beside him, no powers in the room and all the more frightening for it.
#5. Spider-Man: No Way Home (2021)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Clears |
| Score | 5/5 |
Where to Watch (US): Streaming on Disney+, fuboTV, Starz and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
A film that should have collapsed under its own premise and instead became an event. Three Spider-Men, five returning villains, three studios’ worth of history, all balanced on a story that still has to make you feel something, and Watts somehow keeps it legible and moving. The reason it sits at five rather than higher is not quality;y, it is time: its cultural footprint is still young, still settling, and this ranking is cautious about crowning a film whose long shadow is only three years old. But make no mistake, this is the audience’s number one, and the theaters that night proved it.
By the numbers: It grossed roughly $1.9 billion worldwide on about $814 million domestic, the highest total in the franchise and the sixth-biggest film ever at the time, and it did it without a China release.
The Spider-Man moment that defines it
The three Peters together on screen, comparing the losses that made them, the payoff of twenty years of Spider-Man films in one quiet conversation.
#4. Spider-Man (2002)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Clears |
| Score | 5/5 |
Where to Watch (US): Streaming on Disney+, Netflix, fuboTV, Hulu and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
Everything modern superhero cinema is, this film made possible. In 2002, the genre was not a sure thing, and Raimi treated Spider-Man as a fable with a horror director’s eye, which is why it has aged where its peers curdled. Maguire set the template every later Peter has worked inside; Dafoe’s Goblin is a foundational villain performance, and the beats it delivers- great power and responsibility, the upside-down kiss, Uncle Ben- are load-bearing walls of the whole genre now. It clears all five marks. It sits at four rather than higher only because the films above it took what it built and reached further.
By the numbers: It was the highest-grossing superhero film ever made on release and among the biggest films of any kind that year, the moment the studios learned this genre could carry a summer.
The Spider-Man moment that defines it
The upside-down kiss in the rain, an image so complete it stopped being a scene and became shorthand for the entire character.
#3. Spider-Man: Across the Spider-Verse (2023)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Provisional |
| Score | 5/5 (Provisional) |
Where to Watch (US): Streaming on Disney+, fuboTV, and HBO Max. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
The most likely film on this list to rise, and the only reason it is not already at the top is that its story is unfinished. Across the Spider-Verse turns the multiverse into a formal argument about identity, gives every corner of it a distinct visual language, and lets The Spot grow from a joke into the scariest thing in the franchise. Its only unresolved mark is the retrospective one, and that resolves the moment the trilogy completes. When Beyond arrives, this film’s placement may change. Until then,n it holds third on ambition alone.
By the numbers: It grossed about $690 million worldwide, nearly double the original, proof the first film was not a fluke but a foundation.
The Spider-Man moment that defines it
The canon-event confrontation, Miguel O’Hara explaining what every Spider-Person must lose and Miles refusing to accept the rules of his own story.
#2. Spider-Man 2 (2004)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Clears |
| Score | 5/5 |
Where to Watch (US): Streaming on Disney+, fuboTV, HBO Max and YouTube TV. Free with ads on FXNow. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
For twenty years this was the answer to the greatest-superhero-film question, and it earned the title by being about something. Raimi builds the film around a Peter who is failing at everything because being Spider-Man costs too much, and then hands him Alfred Molina’s Doc Ock, a tragedy with mechanical arms and the villain every later Spider-Man villain is measured against. The horror-director texture, the operating-room scene, the train, gives it a weight the genre rarely matches. It clears all five marks cleanly. It sits at two only because the film above it did something no live-action entry could.
By the numbers: It was the lowest-grossing of the Raimi trilogy and the most acclaimed, a reminder that the box office and the verdict of history do not always agree.
The Spider-Man moment that defines it
The train sequence, Peter unmasked and passed hand to hand above the crowd he saved, staged like a resurrection and still the trilogy’s defining image.
#1. Spider-Man: Into the Spider-Verse (2018)
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Clears |
| Cultural Footprint | Clears |
| Score | 5/5 |
Where to Watch (US): Streaming on Netflix. Rent or buy on Apple TV or Amazon Video.
The Screendollars Take
The best Spider-Man film ever made is also the lowest-grossing on this list, and that gap is the whole point. Into the Spider-Verse does not rank first because it earned the most. It ranks first because it did the most. It invented a visual language nobody had seen at feature scale, introduced Miles Morales to the world without a hint of cynicism, built an emotional spine strong enough to carry all of it, and then changed what mainstream animation was allowed to look like. Every studio that followed is still copying it. It clears all five marks, and it is the rare number one that almost nobody argues with.
By the numbers: It grossed about $384 million worldwide, the smallest total in the franchise, and then won the Best Animated Feature Oscar, which is the entire case for judging films by more than their gross.
The Spider-Man moment that defines it
The leap of faith, Miles falling upward off a skyscraper as the animation itself shifts to show him becoming who he is, the single best frame the franchise has produced.
One More: Spider-Man: Brand New Day (2026), Not Yet Ranked
Brand New Day is in its opening theatrical run as this publishes, so it sits outside the ranking until it can be judged on a full run. It appears in the streaming table below as the seventeenth film.
| Peter Parker (or Miles) Anchor | Clears |
| Villain Depth | Clears |
| Cinematic Ambition | Clears |
| Emotional Payoff | Provisional |
| Cultural Footprint | Provisional |
| Score | Provisional |
Where to Watch (US): In US theaters from July 31, 2026. No streaming or digital release yet; a digital rental window has not been announced.
The Screendollars Take
For the first time this entry has something real to stand on. Brand New Day has screened, the first reviews are in, and the critical read is strong. Cretton delivers the grounded, street-level Peter the fans wanted; critics are calling it the best-directed Spider-Man film since the Raimi run, and the Holland, Zendaya, and Batalon core pays off four films of build with the emotional beats reviewers keep singling out. The friction between Holland’s Spider-Man and Jon Bernthal’s Frank Castle draws the loudest praise. The honest knock is length and load: at two and a half hours,s it plays overstuffed, and a minority of critics find it trying too hard. What still cannot be scored is the one mark only time settles: cultural footprint, so it holds outside the ranking rather than slotting in on opening weekend. On everything we can see so far, it is landing as one of the better-reviewed entries in the run.
By the numbers: Per our own Chartbusters tracking, Brand New Day is set up for one of 2026’s biggest openings, and the strong first reviews only help its case. We will lock the actual figures once the opening weekend is counted.
The Spider-Man moment that defines it
Early reviews single out the charged dynamic between Holland’s Spider-Man and Jon Bernthal’s Frank Castle as the film’s standout, a street-level collision that pushes Peter somewhere the MCU has not taken him before.
The Complete Spider-Man Streaming Table
All sixteen released films are available to rent or buy on both Apple TV and Amazon. 11 are on Disney, and 9 are on Netflix, and eleven are free with ads on FXNow. Brand New Day is in theaters only until its digital release.
| # | Film | Year | Type | Disney+ | Netflix | Free (ads) | Rent/buy |
|---|---|---|---|---|---|---|---|
| 1 | Spider-Man | 2002 | Canon | Disney+ | Netflix | FXNow | Apple TV / Amazon |
| 2 | Spider-Man 2 | 2004 | Canon | Disney+ | – | FXNow | Apple TV / Amazon |
| 3 | Spider-Man 3 | 2007 | Canon | – | Netflix | FXNow | Apple TV / Amazon |
| 4 | The Amazing Spider-Man | 2012 | Canon | Disney+ | Netflix | FXNow | Apple TV / Amazon |
| 5 | The Amazing Spider-Man 2 | 2014 | Canon | Disney+ | Netflix | FXNow | Apple TV / Amazon |
| 6 | Spider-Man: Homecoming | 2017 | Canon | Disney+ | Netflix | FXNow | Apple TV / Amazon |
| 7 | Venom | 2018 | SSU | Disney+ | – | – | Apple TV / Amazon |
| 8 | Spider-Man: Into the Spider-Verse | 2018 | Canon | – | Netflix | – | Apple TV / Amazon |
| 9 | Spider-Man: Far From Home | 2019 | Canon | Disney+ | – | FXNow | Apple TV / Amazon |
| 10 | Venom: Let There Be Carnage | 2021 | SSU | Disney+ | – | FXNow | Apple TV / Amazon |
| 11 | Spider-Man: No Way Home | 2021 | Canon | Disney+ | – | FXNow | Apple TV / Amazon |
| 12 | Morbius | 2022 | SSU | Disney+ | – | FXNow | Apple TV / Amazon |
| 13 | Spider-Man: Across the Spider-Verse | 2023 | Canon | Disney+ | – | FXNow | Apple TV / Amazon |
| 14 | Madame Web | 2024 | SSU | – | Netflix | – | Apple TV / Amazon |
| 15 | Kraven the Hunter | 2024 | SSU | – | Netflix | – | Apple TV / Amazon |
| 16 | Venom: The Last Dance | 2024 | SSU | – | Netflix | – | Apple TV / Amazon |
| 17 | Spider-Man: Brand New Day | 2026 | Provisional | – | – | – | In theaters |
Streaming verified via JustWatch for the United States, July 2026. Availability rotates constantly, so confirm before you buy.
Not Sure Where to Start? Alternative Viewing Orders
Not every viewer wants worst-to-best. These orders serve different intents.
The Chronological Release Order
Watch in the order the films arrived, starting with Spider-Man (2002) and ending with Brand New Day (2026). This is the historical path, the way a viewer alive from 2002 experienced the character’s evolution.
The MCU-First Continuity Order
Treat Holland’s Peter as the throughline. Watch Homecoming, Far From Home, No Way Home and Brand New Day in sequence, then the Raimi trilogy, the Webb duology, the Spider-Verse films and the SSU as parallel universes, which is exactly how No Way Home frames them.
The Quality-Only Order (Top 8, skip the SSU)
Watch the top eight in ranking order: Into the Spider-Verse, Spider-Man 2, Across the Spider-Verse, Spider-Man, No Way Home, Spider-Man: Homecoming, Far From Home, and The Amazing Spider-Man.
The Miles Morales Track
For viewers primarily interested in Miles: Into the Spider-Verse and Across the Spider-Verse, plus the delayed Beyond the Spider-Verse when it arrives.
Why the Argument Is Worth Having
Seventeen Spider-Man films across twenty-four years is enough to describe how mainstream superhero cinema has evolved. The five marks are portable: the same criteria will apply to Beyond the Spider-Verse when it arrives, to future Holland films, and to whatever the SSU attempts next. No other comic-book character has been adapted this many times across this many eras with this much sustained quality. The bottom of the ranking is as low as blockbuster cinema gets. The top is as high.
