If there’s one thing that aggravates me, it’s when I hear people say, ‘I don’t fancy watching that one Spider-Man film because it’s animated’. If you’re so quick to rule out animation as an accessible means of visual storytelling, then just let an unapologetic 24-year old Spider-Man fan tell you about Sony’s Spider-Verse films. Not only did 2018’s Into the Spider-Verse garner acclaim from critics and fans alike, but was also a uniquely innovative cinematic experience with its visual prowess, grounded storytelling, and emotional weight. What made it so unique was how it used visual effects to tell the story and capture the emotions of the characters in a way no other animated film has. Not to mention it was another relatable Spider-man story about Marvel’s underdog Miles Morales which made it all the more appealing. Imagine this, but somehow improved on every level. That is Spider-Man: Across the Spider-Verse.
Across the Spider-Verse continues the story of Miles Morales, New York’s biracial Spider-Man after he takes up the mantel in the first film. It also continues the story of Gwen Stacy, known in her own world (aptly named Earth-65; Miles’ home is Earth-1610) as Spider-Woman. Both are earnestly voiced Shameik Moore and Hailee Steinfield respectively, reprising their roles from the first film. The two Spider-kids deal with parental conflicts, a poignant theme which was touched upon in the first film, but more thoughtfully explored in its sequel. Meanwhile, a multi-versal threat emerges forcing both of them to travel across the multiverse and encounter a delightful plethora of other Spider-people in a ‘Spider Society’. This society is led by Spider-Man 2099, a futuristic Spider-Man menacingly voiced by Oscar Isaac who, in the best way possible, described the character as ‘the only unfunny Spider-Man’. Considering many cinema-goers are claiming ‘superhero fatigue’ is setting in, believing the repetitiveness of the superhero genre is desensitising its enjoyment, Across the Spider-Verse proves that this is not the case. Even though the themes of heroism and responsibility are synonymous with every Spider-man story, this film takes a new approach, and challenges the archetypal story which is supposedly destined into the lives of the people who become heroes.
The multiverse is an increasingly common theme in movies, not just in the Marvel Cinematic Universe (referred to in Spider-Verse as Earth-199999, Tom Holland Spider-Man’s home) but in other films. The idea that there is an infinite number of other universes to our own gives fantastical weight to the themes of destiny and consequences. Is everything supposed to play out according to a big plan? Or does everything run in chaotic autonomy? Last year’s multi-award winning film Everything Everywhere All at Once showed the chaos and unpredictability of the multiverse can be harnessed to create a compelling and innovative story, with crazy ideas that have a purpose. Across the Spider-Verse‘s spider-themed approach to the multiverse arguably does it just as well, and perhaps more concisely to appeal to a wider audience. It not only gives Spider-man fans an astounding abundance of easter eggs to alternate Spider-people and references to other media, but it gives the film a lively feeling of character and provides emotional weight to character’s choices. Given all this, it doesn’t once feel over crowded to my pleasant surprise.
To say Across the Spider-Verse is one of the best-looking films of the year so far would be an understatement. It is one of the best-looking films in recent years. The film embraces a vibrant range of drawing styles to illustrate its different universes and its character’s emotions. For example, newcomer Spider-Punk (fantastically voiced in Daniel Kaluuya’s London accent) is animated with a combination of punk-rock cutouts, reflecting his rebellious nature from a world ruled by a totalitarian regime. Meanwhile, Gwen’s world is illustrated with warm blue and white palettes which look like wide but delicate paint strokes. Not only is this aesthetically pleasing, but also reflects Gwen’s emotional state. When having difficult conversations with her police captain father George Stacy, the colours of the background change depending on whether Gwen feels sad, angry, or scared. It is done with such grace that it illustrates the characters’ depth without the need for extensive dialogue or story beats. Even Daniel Pemberton’s exceptional score provides a unique musical theme for each of the key players in the film. Spider-Woman’s light and energetic theme reflecting her grace and femininity, whilst guitar, vocals and drums vigorously put the ‘punk’ in Spider-Punk. There is one scene in particular featuring Miles and Gwen sitting upside down on a building that I was truly in awe of watching on a huge IMAX screen. No web slinging, no crime fighting, just two Spider-pals hanging out. Beautiful.
When writing a review of something, it’s all well and good coming up with colourful adjectives to describe it, but it isn’t quite the same as describing exactly how something made you feel. Watching Across the Spider-Verse was like going to a theme park. Each of the rides are different enough that they all unique and provide their own sense of enjoyment. Some are solely there to be visually appealing, but others are an exhilarating and emotional rollercoaster which leave you wanting more when you get off. In this theme park however, all the rides have one thing in common – they’re spider themed. Across the Spider-Verse to Spider-Man is effectively what the Empire Strikes Back was for Star Wars; improving upon the original in every aspect. Thoughtfully expanding on the story beats which made the original so good, providing the story with higher stakes. Expanding the universe (quite literally) which allows for a colourful vibrancy of animation rarely seen in film. Across the Spider-Verse is superhero escapism at its best, divulging into a plethora of creative ideas and fleshing out the lore of one of the most beloved fictional characters of all time.
G does Films 