In the wake of subpar releases such as “Ant-Man and the Wasp: Quantumania” and “Shazam: Fury of the Gods,” the term “superhero fatigue” has cemented itself in film discourse. Some viewers feel burnt out by superhero stories. Diminishing box office returns and unfavorable reviews have audiences questioning the longevity of the comic book movie — a genre that has ruled Hollywood for the better part of the century.
“Spider-Man: Across the Spider-Verse” proves superhero films still have a place in contemporary cinema. Filmgoers didn’t suddenly become opposed to comic book stories. Instead, they have grown tired of the oversaturated and lackluster state of blockbuster cinema, constantly churning out uninspired cash grabs. They desire fresh stories created with care and passion (Dexerto). “Across the Spider-Verse” hits these marks and then some. Its meticulously crafted visuals, heartfelt story and complex characters test the limits of the cinematic medium.
In 2018, Sony Pictures Animation surprised the world with the groundbreaking release of “Spider-Man: Into the Spider-Verse.” Its comic book-inspired animation, killer soundtrack and relatable story resonated with audiences of all ages (Common Sense Media). Miles Morales (Shameik Moore) burst onto the scene, becoming synonymous with the Spider-Man title. As an Afro-Latinx teenager, Miles’s story explored a more diverse and youthful perspective of the famed web-slinger. So does the highly anticipated sequel live up to the hype? The answer is an emphatic yes.
“Across the Spider-Verse,” helmed by animation veterans Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, picks up Miles’s story shortly after it left off. In the absence of his crush and fellow spider-person, Gwen Stacy (Hailee Steinfeld), Miles is left grappling with his identity. Dividing his time between superhero business, school and family is no easy feat. Although Miles considers revealing his identity to his parents, he fears it could tarnish their relationship. When The Spot (Jason Schwartzman) — formerly known as Dr. Jonathan Ohn — pops up in an ATM robbery, Miles learns of his unimaginable power. Gwen returns and introduces him to a massive spider society — an endless multiverse of wacky spider-people. Led by Miguel O’Hara (Oscar Isaac), Miles and his new companions must combine forces to defeat The Spot.
Schwartzman’s The Spot is an incredibly compelling antagonist. In his introduction, he starts out as pathetic and incompetent — one of the film’s funniest scenes. As the plot progresses, his power evolves and becomes an undeniable threat. His arc mirrors the typical superhero, only with more sinister intentions.
Like its predecessor, “Across the Spider-Verse” is an extraordinary feast for the eyes. Its masterful animation had my jaw on the floor for all 140 minutes. I can only imagine the time and effort it took to organize and produce. Each multiverse receives a unique visual style. Their inhabitants embody and maintain this look as they travel the many verses. These contrasting styles mesh beautifully, distinguishing the characters without distracting from the story. Its breakneck action sequences are pulled straight out of a comic book in a way only animation can capture. I was especially mesmerized by Gwen’s world; the backgrounds, resembling paint brush strokes, change with every cut. They are gorgeously detailed, expressing emotion with unrivaled sincerity.
“Across the Spider-Verse” does not default to style over substance. Its narrative is equally as impressive as its visual layout. While the first movie asks who gets to wear the mask, the sequel questions what it means to wear the mask. What does it mean to be a hero? When this question is compounded with concerns surrounding maturity, honesty and identity, the film’s relatability skyrockets. Miles and Gwen might be superhuman, but their struggles are universal.
The film is also quite funny. In its less serious moments, writers Phil Lord and Christopher Miller hone in on Spider-Man’s classic quick-witted dialogue. Jake Johnson is the comedic standout, reprising his role as Peter B. Parker. I also want to shout out newcomer Hobie Brown (Daniel Kaluuya), who delivers some memorable one-liners.
I can’t properly review this film without mentioning that it is an incomplete story. With “Spider-Man: Beyond the Spider-Verse” set to release in 2024, the film is a part one to a two-part story. I don’t think this hinders its quality since the film executes its cliffhanger ending in an intense and gratifying way.
With an excellent voice cast, stunning animation and a captivating story, “Across the Spider-Verse” is pure adrenaline and heart. Its unabashed creativity is a breath of fresh air. I am beyond excited to see how Miles’s story concludes in the final chapter.
