‘SPIDER-MAN: ACROSS THE SPIDER-VERSE’ Review: A Masterful, Magnificent Sequel

Courtney Howard // Film Critic

SPIDER-MAN: ACROSS THE SPIDER-VERSE

Rated PG-13, 2 hours and 20 minutes

Directed by: Joaquim Dos Santos, Kemp Powers, Justin K. Thompson

Starring: Shameik Moore, Hailee Steinfeld, Oscar Isaac, Jake Johnson, Issa Rae, Brian Tyree Henry, Luna Lauren Velez, Jorma Taccone, Jason Schwartzman, Shea Whigham, Karan Soni

The mark of any great sequel is how the filmmakers raise the game, compounding their characters’ universe, gifting them with compelling adversarial obstacles and expanding upon the craft itself. Blessedly, the clever minds behind SPIDER-MAN: ACROSS THE UNIVERSE deliver the goods in spades. Though the first film (SPIDER-MAN: INTO THE SPIDER-VERSE) propelled the medium forward in terms of tone and texture, this follow-up brilliantly re-contextualizes their own filmic language, utilizing the power of aesthetics and audio to color the landscape. Funny, stylish, heartfelt, ingenious, passionate and creatively inspired, the dazzling animation supports a story centered on two young superheroes figuring out how to be worthy of the title.

For as much as this chapter is about our beloved 17-year-old Brooklynite Miles Morales/ Spider-Man (Shameik Moore), it’s also about Gwen Stacy/ Spider-Gwen (Hailee Steinfeld), who guides the film’s prologue showing the growing dissonance between her and her father Captain Stacy (Shea Wigham) and being recruited by Miguel O’Hara (Oscar Isaac). He runs an elite squad of Spider-People tasked to make sure the multiverse doesn’t collapse in on itself. Those include pregnant motorcycle badass Jessica Drew (Issa Rae) and Hobie/ Spider-Punk (Daniel Kaluuya) Meanwhile, in a different dimension, Miles is struggling with finding a healthy work-life balance, saving the city from petty criminals, but failing spending quality time with dad, NYPD officer Jeff (Brian Tyree Henry), and concerned, caring mom Rio (Luna Lauren Velez).

Yet Miles’ world is about to turn upside down when a new threat arises. At first seen as a goofy  “villain of the week” type, The Spot (Jason Schwartzman) – a bumbling, walking, talking Rorschach painting – reveals a shared history with Miles. It’s during this time Gwen makes a surprise appearance in Miles’ universe, which thrills him to see a friend who understands his problems. She’s supposed to spy on The Spot, but fails her assignment and he gets away. She’s called back to headquarters, however, unwittingly brings Miles into the fold as a stowaway. As The Spot begins skipping around different dimensions to amass vengeful power, Miles tags along with Gwen and the gang. But things get complicated quickly, sending the team into turmoil and Miles facing the toughest situation of his life.

Directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, as well as screenwriters Phil Lord, Christopher Miller and Dave Callaham and all the animators, have, once again, raised the bar on what an animated sequel should look and feel like in terms of appealing impact, scale and scope. Stepping into their world, it’s as if you’ve never experienced color of this magnitude before where you can feel the enhanced nature of it all. Creatively constructed action sequences are electrifying and visually stimulating. Similar to its predecessor, the narrative themes centered on identity, family, responsibility and consequence reads on every level, extending visually and sonically. They continue to play with the concept of shifting perspectives – movements that highlight the characters’ and their worlds turning topsy-turvy. They ascribe specific color palettes and drawn styles to other dimensions, the occasionally clashing mixed-media showcased provides depth and dimension to the visuals, while adding a harmonious, hilarious meta-commentary to the picture’s greater context. Whether it be anime or comic book style inspired, split screen panels connote a propulsive, fluid, forward-moving momentum.

Daniel Pemberton’s electro-cool score, blends a pleasing mix of new and familiar compositions to center sequences, from the big brawling battles to the heart-to-heart chats Miles and Gwen have with their parents. Needle drops on the soundtrack, which is full of bops and bangers, are integrated with a tender touch, never drawing attention to itself. Sound design feels immersive and, specifically in one comedic scene, incorporated into the joke perfectly. Each dimension has a subtly different aural texture.

There’s a lot to value and cherish, from the Mumbai-set sequence and deliriously delightful Easter Egg-a-palooza sequence in the second act, which branches off in gloriously bonkers ways from the viral Spider-Man Pointing at Himself meme that clearly inspired it, to the heart and smarts driving the picture. Though its run time is elongated, its brisk pace works like a charm, effortlessly finding the right balance between frenetic and copasetic. Despite being yet another superhero film to tackle – or at least set up for the next chapter (BEYOND THE SPIDER-VERSE) – philosophy’s Trolley Car Problem, the infinitesimal answers to the conundrum as applied to the multi-verse feels like an exciting, fresh prospect in these filmmakers’ capable hands.

Grade: A-

SPIDER-MAN: ACROSS THE SPIDER-VERSE opens in theaters June 2.