Posted by SPIDER-MAN: ACROSS THE SPIDER-VERSE
2023; Sony Animation; 2h20m.
Written by Phil Lord, Chris Miller, & Dave Callam, from the characters created by Stan Lee, Steve Ditko and others.
Directed by Joaquim Dos Santos, Kemp Powers, Justin K Thompson.
Starring the voices of Shameik Moore, Hailee Steinfeld, Oscar Isaac, Jake Johnson, Issa Rae
In December of 2018, Spider-Man: Into the Spider-verse burst onto the scene with a fresh take on the Spider-Man mythos, introducing the non-comic reading world to Miles Morales in a hyper-kinetic, beautifully and creatively animated tour-de-force that quickly became not only my favorite animated film, but superhero film. I suggest you pop over and read my review to get a footing of that film and my thoughts.
Releasing at the start of June in 2023, Spider-Man: Across the Spider-Verse has a high bar to web-swing over. I’m incredibly glad to say that it clears the lofty goal to be a fantastic sequel to an amazing original and stands on its own as well. Phil Lord and Chris Miller return as producers, now writing with Dave Callham (last time was Phil Lord and Rodney Rothman). They’ve switched out the trio of directors to Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. All work in perfect tandem to craft a film that does it all: ups the ante and builds off the first film, has a beating heart of an emotional core, is stunningly animated, and moves at a perfect, break-neck pace. It’s a complete miracle to pull such an astonishing feat off twice. Here’s a third with next year’s trilogy capper.
Across the Spider-verse proves itself as a great example of a sequel in continuing the set-up and characters of the original, but building on them and the unique world-building without ever feeling like it’s repeating itself. The characters both old and new, the shifted and shifting art styles, the action, character, and story beats, and the meta-jokes are all fresh approaches to the material. There’s nothing that feels “ok, let’s just do it again” laziness. Across the Spider-verse continues from Into the Spider-verse in an organic and refreshing way.
The briefest of direct plot talk to give context without getting spoilery: A year after Kingpin’s multiverse collider shenanigans, Miles Morales (Shameik Moore) is the only Spider-Man in his universe, missing his spider-friends, particularly Gwen Stacy (Hailee Steinfeld) and doing the Spider-Man thing. A new villain appears, The Spot (Jason Schwartzman), demanding to be taken seriously and claiming vengeance on Miles, and becoming a threat when it’s realized his Looney-Tunes-esque portable hole powers (used to great effect in an early sequence), have multiversal complications. Thus, pushing Miles into the Spider-verse that came to him last time, putting him in contact, and conflict with, every other Spider-being, in a Counsel Ricks led by Spider-Man 2099, aka Miguel O’Hara (Oscar Isaac), but also featuring Spider-Woman Jessica Drew (Issa Rae)and returning Peter B. Parker (Jake Johnson), now with baby Mayday in tow. And hundreds and hundreds of Spider-Folk.
While many of the multitudes of Spider-People are used as jokes and direct references, the viewer may see favorites from all across all mediums of Spider-man – if they exist, they are in the movie in some way (with many “oh they went there!” surprises), they are never winky “hey, a thingy you know” fan-service. As expected, a few faces are given more screen time and actions, and these new characters almost steal the movie away from Miles and Gwen and I foresee becoming instant fan favorites. I went in not knowing who to expect, and will keep that respect for you too, but I’m sure the advertising will show if you want to go look.
What’s Spider-Man without complicated conflict, internally and externally. One of the major draws of Peter, Miles, and others wearing the mask has been finding that balance: knowing actions or inactions have consequences. Far from “bam bam punch punch, defeat the villain, gain world respect,” Spider-man is fraught with tragedy and loss. How this is explored across the varied formulas (it’s plainly seen as a mutable story even in Into’s Noir, Manga, and Pig cartoon takes) gives weight to the franchise across its sixty years up to and including this entry. How Spider-Man deals with it, for better or worse, makes him one of the all-time favorite heroes, and allows the sheer number of iterations to each stand on their own and be welcomed by fans (I stand by Andrew Garfield is a great Spider-Man with a pair of meh to bad movies around him. Glad No Way Home gave a redemption).
Taking this, and mixing in sly talk on what makes a canon or not, a subject we geeks know is long debated (cue Star Wars Extended Universe versus Disney Canon argument), gives Miles’s dilemma strong emotional backing. There’s the larger narrative of story (and personal) expectations, touched on with the “we have the same background” joke last go around, but provides a bigger oomph as a driving force of the film. To say more would get deeper into the film that I want to in this review, but I will note this aspect of Across the Spider-verse turns it into something epic; the plot and character lines that extend like a web show the mastery of storytelling. Much is going on from all sides, but it flows together so well, and nothing seems shortchanged or over-drawn despite the complicated depths. At the heart of it, keeping it grounded, is a strong emotional core.
The emotional background is deep and endearing, delivering a weight to everything that occurs. The characters are real, have grown in the past year off-screen and grow and arc during. The relationships and people in them are honest, complicated, and heartfelt. The stakes feel real, even as rendered animated, I found myself fully invested and edge of my seat, gripping my legs, *concerned* over what I thought would happen, whether it be a tough conversation of Miles and his parents or a possibly world-ending event.
Spider-Man: Across the Spider-verse is sharpy written in every aspect: character drawing, world-building, plot-creating; it wastes no time, gives twists and tricks that even the most keen on twists and tricks will appreciate, and is smartly funny to boot (as Peter Parker is).
On top of all this character and story-telling I’ve been raving on is a truly beautiful film. The art style of last entry used comic-book sensibilities in the best way possible, kinetically moving through the film at break-neck speed, giving action a live-action movie can’t, and mixing in a blend of art styles seamlessly. Some of the “draw-over” aspects are toned downed, but this shift down in that way is made up for by the wow factor of the previously mentioned “every spider-person or think you can possibly think of” coming together in such a way. The characters and the other worlds seen are varied and perfectly fitting. From a version of Manhattan on another continent is sumptuous and impeccably lush to Gwen Stacy’s water-colored tinted world (the use of colors connected to emotion is a choice example of simple color used to stir and support) and everything in-between. But it’s never a gimmick. It matches, strengthens, and astounds. I particularly loved a Dave McKean style The Spot takes on (and connects to his emotional state as noted with Gwen’s world).
Across the Spider-verse confidently presents A LOT of film, with nary a misstep across the verse. It juggles everything so well, it feels easy, but looking at a single frame, one can see the carefully designed mastery of storytelling.
Just as last time: an straight up A+.
