Spider-Man: Across the Spider-Verse Review

All right, let’s do this one more time.

Sony pulled off the impossible with "Spider-Man: Into the Spider-Verse." They not only created the best-animated superhero film ever, and perhaps one of the all-time superhero flicks, but they also developed an exciting, creative, inventive, extremely original, and entertaining 'Spider-Man' like never before. They did, indeed. And now they've outdone themselves.

'Across The Spider-Verse' is a stunning achievement that significantly raises the bar, particularly in terms of animation. 'Across The Spider-Verse' is a very emotional story with various poignant themes concerning the crucible that all Spider-People must endure: horribly personal and tragic experiences that forever change who they are, define them, and shape them into the hero we know today.

'Across the Spider-Verse' has a complicated plot, which may be to explain everything. The story concerning its rich and dimensional characters, on the other hand, is essentially simple. One year after the events of 'Into The Spiderverse,' two Spider-People, Miles Morales (Shameik Moore) and Gwen Stacy/Spider-Woman (Hailee Steinfeld), are lonely and adrift in the world without each other. Relegated to their own universes, they miss the adventurous experience they shared, the friendship they formed, the way another Spider-Person made them feel less alone in the universe, and perhaps even the romantic tingle that oh-so-briefly began to spark with one another.

Gwen has an overbearing police chief father, Captain Stacey (Shea Whigham), who is hellbent on bringing Spider-Woman to justice for the presumed murder of [a spoiler we won't spoil], and Miles continues to have issues with his worisome parents Jefferson Davis (Brian Tyree Henry) and Rio Morales (Luna Lauren Vélez), both of whom shine in this packed installment.

The introduction of The Spot (Jason Schwartzman), a former scientist turned disfigured evil who wants the ultimate revenge on Miles Morales for wrecking his life, propels the plot forward—which is probably not as compelling. The Spot becomes powerful, threatening the existence of the multiverse, by various manipulations that are not worth explaining. Gwen Stacy is the Spider-Society's choice to stop him. Who? A special forces team lead by Miguel O'Hara/Spider-Man 2099 (Oscar Isaac) and his subordinate Spider-Woman (Issa Rae) that patrol the multiverse for abnormalities. Gwen visits Miles' universe—and isn't intended to engage with him—but everything goes wrong, askew; Gwen can't stop herself, and things spiral out of control.

It's visually amazing, with several design styles for each character, vivid, hyper details, and a rapid-fire montage of visuals so massive, grand, and tactile that you'll swear you've seen it in 3D. There isn't much to say about the dazzling visuals other than it's likely to win Best Animated Oscar again, based on how cutting-edge it is and how their style continues to break ground (the oil-painting, oil-spilling, oil-breathing pastel hues that embody the emotional backgrounds of the Gwen Stacey story deserve an entire separate story).

Emotionally, 'Spider-Verse 2' is frequently moving, upsetting, and depressing, with moments that will leave you in tears. Miles and Gwen's family stories, in which they are longing to connect yet lie to their parents to safeguard their superhero identities, are heartbreaking. The film's aching ache is often touching and extremely effective for this type of superhero film. Miles Morales is confronted with a universe-threatening quandary that is also personal, and the way it clenches with fear, misery, and "NO! I can fix this!" desperation is heartbreaking.

If there's one little flaw, it's that 'Across The Universe' is a one-part story that closes in 2024's 'Beyond The Spider-Verse.' The film works well, but it's no 'Empire Strikes Back' in this regard—perhaps the best sequel ever to close with identical ellipses while still feeling like a finished story.

Spider-Man: Beyond the Spider-Verse releases on March 29, 2024.

Nonetheless, the directors should be proud of what they've accomplished, how they got there, the story they've told, and the flawless, thrilling animation artistry that's collaged, fragmented, and leaps off the screen into your eyes. They should take a bow just for that.