‘Spider-Man: Across the Spider-Verse’: Visually Astonishing Sequel Is an Animated Masterpiece

Alci Rengifo

Superhero fatigue may be seeping into our tired movie-going collective conscience, but there’s nothing tired or stale about “Spider-Man: Across the Spider-Verse,” which transcends costumed entertainments and animated escapes. As a sequel it goes farther and much grander than its predecessor, 2018’s “Spider-Man: Into the Spider-Verse,” which was already an impressive feat that won the Best Animated Feature Oscar. As with that film, what makes this one quite special is how much of a riveting work of art it can be in every frame. It breathes like comic book panels come to life, filtered through cascades of color, sound and music. Yet, these are just layers over a story that is full of great emotions and the uncertainty of adolescence. In classic Spider-Man fashion, it’s about all of us, while breaking even more ground in diversity within a blockbuster zone.

While set a year after the events of “Into the Spider-Verse,” the action first focuses on Gwen Stacy aka Spider-Woman (Hailee Steinfeld), now back in her own universe but struggling to conceal her secret identity from cop father George (Shea Whigham). A showdown with a version of Vulture (Jorma Taccone) dropping in from another universe introduces Gwen to the Spider-Society, a secret team led by Spider-Man 2099 (Oscar Isaac) and another Spider-Woman (Issa Rae) who basically police inter-verse crises, making sure villains are sent to their correct timelines. Gwen joins up and disappears from her domineering home. We then return to the Brooklyn of Miles Morales (Shameik Moore), who you may recall became Spider-Man in the last movie after receiving the required spider bite. Now swinging around the city fighting crime and cracking jokes, Miles also deals with the pressures of school. When a new villain, The Spot (Jason Schwartzman) appears in goofy fashion, Miles thinks it’s another whacko he can easily put away. But The Spot is ready for revenge from a past connected to Miles, while unleashing a bigger multiverse crisis that will pull this Spider-Man into battle with countless other variations of his costumed persona.

“Across the Spider-Verse” instantly joins those great genre sequels like “The Dark Knight” and “Spider-Man 2” where the filmmakers leap into intense creativity fueled by the original’s success. Directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson with writers Phil Lord, Christopher Miller and Dave Callaham never repeat the plot beats of the first movie. In the spirit of actual comic books, they expand the franchise’s world without losing sight of the characters. It’s a lesson the Marvel movies have been missing lately while here, the freedom granted by animation aims for astounding sights while keeping us invested in the human stakes. Devoid of the trappings and demands of its live-action cousins, “Across the Spider-Verse” dives further into the very appeal of Spider-Man as an underdog kid trapped in a superhero. Miles runs late to an important meeting with his parents Jefferson (Brian Tyree Henry) and Rio (Luna Lauren Velez) with a school counselor, because he’s busy chasing The Spot through the dark holes the villain conjures to slip through spaces (and dimensions). Fighting villains comes with getting harangued for receiving a B in Spanish, which Miles’s Puerto Rican mom can’t fathom.

The jokes are great and the teenage hassles real, yet “Across the Spider-Verse” also goes edgier by not making the story simply about Miles and Gwen facing some new generic villain. The real theme of the movie is the struggle to find agency and what “fate” truly means. Technically Miles’s super powers are a mistake, because he was not meant to be bitten in the previous movie. He also discovers he carries in part responsibility for the creation of The Spot, who is vengeful over a moment (also in the first movie) where Miles unintentionally caused his transformation into a bleached entity who can produce portals that look like ink spills. Gwen is also processing the guilt of a certain death in her universe, and her father’s hostile reaction to her secret identity as Spider-Woman. It all comes together in the Spider-Society, where Miguel O’Hara aka Spider-Man 2099 can become tyrannical in his obsession with preserving the proper timelines, or “canon,” a term that will make comics fans nod. Miles has to face the idea that he may have to allow yet another death in his world to keep everything in order. The choice he has to make is if he has the right to rebel.

It’s complicated material, though never terribly archaic. This is such an exhilarating movie to experience that we can simply catch up with the smaller details later. As a visual work “Across the Spider-Verse” is a stunning triumph that builds and builds until the very end. When Miles and Gwen swing through New York City the effect on IMAX is overwhelming in its immersive nature. “Into the Spider-Verse” broke new ground in its use of comic book aesthetics, even evoking the texture of printed pages. The filmmakers now go into multiple realms, throwing in even more Spider-Mans via the Spider-Society, including some comic book favorites for the diehard fans to spot in the crowd. A chase of multiple Spideys going after Miles up a speeding rail machine rivals any big action sequence this year. Such moments are balanced by gorgeous, quieter moments where Miles and Gwen share words sitting upside down gazing at the city, or coming close to confessing feelings in the evening. At times the light schemes and colors can evoke movies such as “Blade Runner.” A moment where Gwen appears to Miles through a portal in his room has hallucinatory power. The soundtrack injects even more life into everything with its mixture of techno-orchestral waves by Daniel Pemberton and songs by artists such as Don Toliver, Future and James Blake.

Then there’s the great diversity “Across the Spider-Verse” brings to this franchise. Miles’s Latinidad is more celebrated, including with hilarious small jabs such as Rio wondering if Gwen even speaks Spanish. Issa Rae’s Spider-Woman defines cool while riding her motorcycle into battle pregnant. Oscar Isaac’s Miguel O’Hara also banters in Spanish just enough, before becoming a complex adversary who isn’t necessarily a “villain,” but more of a leader carrying a great responsibility. Conducting out an important job well can also risk turning one into an iron-fisted operator. Karan Soni plays Spider-Man India, who is illustrated with Bollywood superstar flair. We also get Spider-Punk, a stunningly designed Punk rocker voiced by Daniel Kaluuya who preaches anarchy and defies authority at every turn. Miles is also intimidated by learning Gwen has spent quite a bit of time with Spider-Punk. Each character is so well-designed and performed with such energy that this is one movie where we absolutely accept the 140 minute running time.

Franchises easily become such stale products that it’s refreshing to see how this sequel feels so alive. For younger audiences it’s an excellent serving of art as escapism. It ends on a literal note of “To Be Continued,” after a riveting climax with surprises that don’t feel calculated but dramatically and emotionally hard-hitting. The next film is scheduled for March 2024 and this one leaves the anticipation level quite high. Something about Spider-Man always strikes a chord because of how relatable the character is. As in 2021’s blockbuster “Spider-Man: No Way Home,” and in an even more stirring fashion, “Across the Spider-Verse” turns the web-slinging hero into a personification of how life is full of hard, sometimes terrible, choices. Even the right choice can have results that will linger and change us. Miles by the end is facing the responsibility of no less than saving a life. At the same time, he’s obviously in love with Gwen, which is something that never feels quite as torturous as when we’re young. But that’s why we love Spider-Man and this movie gets it, while being a visual triumph. This is both a great animated film and an example of the best in popular art. 

“Spider-Man: Across the Spider-Verse” releases June 2 in theaters nationwide.