Spider-Man: Across the Spider-Verse (2023) (Movie Review)

  All right, let’s do this recap one-more time … the year was 2019, “Spider-Man: Into the Spider-Verse” premiers and surpasses expectations, was adored by fans a critics alike, won the Academy Award for best animated picture, set a new high-mark for comic-book movies to aspire from, and it was absolutely my favorite movie going experience of that year … which raises even higher expectations for its sequel. In 2023, we got the long awaited “Spider-Man: Across the Spider-Verse”, and thankfully … this film managed a brave, bold, and ambitious leap even further into greatness! 

It was another smashing hit with both critics and audiences, is once again nominated for Best Animated Picture, and it's yet another one of my favorites. While many franchises in the turn of the 2020 decade have been hit or miss, I feel very safe in saying that “Spider-Man” is the best theatrical superhero movie franchise of the early 2020’s … not including all those Sony spin-off films with secondary characters. I was honestly worried going-in that this sequel would only hit the basic notes, and simply be an enjoyable watch, with fun Easter Eggs, and cool new animated battles … but everyone from the writers, to the animators, to the voice cast, to the composers and sound designers all just put that extra effort into making the best possible sequel … and it absolutely delivered! 

  Following after the events of the last movie, Kingpin was defeated, his muti-universe collider was destroyed, and all the different Spider-Men were sent back to their respected home dimensions … leaving Miles Moralis the one and only Spider-Man to protect New York city. While he excels in protecting the city, he also struggles to keep his secret life from his parents, which causes frictions between them. 

It’s also discovered that in the aftermath of the previous battle with Kingpin, one of the scientists was transformed into a new villain called the Spot, who now has the ability to create holes in space-time, and leap through dimensions. This gets the attention of Miguel O’Hara, who’s the Spider-Man of 2099, and has been gathering all other Spider-Men from other worlds in an effort to contain and resolve any anomalies that could threaten their universes. This gives Miles the chance to reunite with his old flame Spider-Gwen, who’s on the trail of the spot, and together, they set-off on a new adventure across further Spider-Man worlds, and meet new heroes along the way. However, the more Miles discovers about his new Spider-allies, the more concerning secrets get revealed, the stakes are raised, and even further conflicts ensue regarding Miles and his place in the multi-Spider-verse. Shameik Moore returns as the voice of Miles Moralis, and once again, he is an excellent character, with a great journey, and his relation with his parents really works.  

 While Miles is unmistakably the main character of the story, the narrative really belongs to my favorite Spider-Woman Gwen Stacy, who’s voiced again by Hailee Steinfeld.  

She was already my favorite character from the first movie, and this sequel dose an excellent job putting the spot-light on her, and making her the figurative POV character who book-ends the film. The movie opens with a lengthy sequence dedicated to Gwen in her home dimension, and much like Miles, she too is going through emotional struggles and conflicts with her father. While the movie ends on a hard cliff-hanger, it’s Gwen’s emotional journey that reaches finality, and it helps give this film a satisfying conclusion, despite the unresolved ending. Gwen's relation with Miles Relation is also very sweet, and not only do the characters have excellent chemistry, but they also share some of the best visually romantic imagery sense the original 2002 “Spider-Man”. Peter B. Parker is also back, and is now a family man raising his own little Spider-Girl, which is very sweet. The voice acting all around is sensational, as everyone convincingly transitions from high-spirited, witty personalities, to intense emotional weight.  

 One very minor reservation with this film is that I would have liked to see more of the secondary Spider-Men characters from the first film, like Peni Parker, Spider-Man Noir and Spider-Ham. They were some of my favorite characters, and while they make walk-in cameo’s, I would have just liked more of them. However, the film makes-up for it with some excellent new Spider-Man characters. We now have Spider-Man India, Spider-Punk, and pregnant Spider-Woman. She too has web powers, but can’t go swinging, as it would affect the baby, so she gets around on a motorcycle instead … which is awesome! Oscar Issac shines as the Spider-Man of 2099, who’s a vampire-ninja, and has the coolest character theme music of anyone. He’s also a suitably complex character who tries to do good, but is always forced to act aggressively, which makes his conflicts with Miles one of the biggest strengths of the film. 

  Of course, no Spider-Man movie is complete without a good villain … and this film has one of the best in the form of The Spot, voiced by Jason Schwartzman. At first glance, he looks like the run-of-the-mill, villain of the week, or maybe even looser of the week, and everyone else see’s him the same way … big mistake. The Spots driving goal through the duration of the film is to simply be seen as more then a disposable villain of the week, and he pushes himself to be the ultimate threat to the Spider-Verse, and bring a personal level of pain and loss to Miles, to make him his nemesis. It’s a great arc for a new villain, and it’s also great to see one of the more obscure foes leave a memorable impression in a movie. 

  I commented on the 2099 Spider-Man having a first rate music theme, but in general, the music score composed by Daniel Pemberton is absolutely sensational. While it's easy to get distracted by the animation on display ... more on that in a moment ... I hope more people take notice of just how great the music is in this film. One common criticism with franchise movies these days is an overabundance of Easter-Eggs, references and call-backs to other tie-in material, and this film occasionally threatens to fall victim to the same problem. Fortunately, it does all the important work of putting characters and story first, so that when all the fun references to other Spider-Man movies, TV shows, comics, and Video games comes around, it’s very appealing. Seeing “Spectacular Spider-Man” in a theatrical movie is a big plus for me.

  It goes without saying that the film is a visual marvel to behold, but with so much artistic style and detail in just about every frame. I could literally watch this film fifty-times and discover a new detail on each viewing experience. Aside from the sheer spectacle, the animation brings something new to the table that I’ve never experienced in a Western animated picture … the art design is frequently used as a means to compliment the emotions the characters. The most direct in this regard is Spider-Gwen’s reality, which is like a melting painting, and how much the colors flow or stabilize depends on either the turmoil or emotional weight the individuals are going through. It’s so beautiful both in imagery and in subtext, and I can’t think of any other Superhero movie that gave me an experience like this.

  Of course, the action thrills, and there’s no shortage of imaginative set-pieces. The opening battle featuring Gwen and the new team against The Vulture is sensational, and it's only the beginning. My favorite sequence is a chase through Spider-Indian’s universe of India, which not only has a brilliant layout, but it also features exceptionally fun character banter amidst all excitement. On that note, the comedy for the most part really works … not only hilarious, but it really compliments the characters and their respected personalities. A fair word of warning, both the animation and action on display is relentless, and might be to much for some viewers to take in all at once. So, if your sensitive to non-stop flashy effects, you might want to pass on this film. If none of that bothers you, then don’t miss this sensational visual marvel.  

  Lastly, as alluded to earlier, the film ends on a very tense and sudden cliff-hanger. Miles Moralis breaks away from the other Spider-Men, and is accidently trapped on Earth 42, where his mutated Spider was brought from, and as a result, it’s the one reality that has no Spider-Man to protect the people. Almost like a nightmare version of his New York, Miles discovers that his father is dead, his crooked uncle is alive, and he comes face to face with himself, except as a villain called the Prowler. This is one of the rare times a theatrical superhero picture didn’t end with a big action sequence … in fact there’s no fighting during this climax at all. Under most circumstances, I’d be put-off by this … if “The Two Towers” went to black before the battle of Helms Deep, I would have certainly been disappointed … but for some reason, I’m perfectly content with this ending. It’s actually quiet refreshing for once to have a big Superhero film without the same formulaic climax. After-all, the film already delivered on its action, so no need to overdo it.            

  All around, it’s another solid Spider-Man outing, and one of the heroes best in a long line of winning films. It’s a visual marvel, not just in spectacle, but also in transcending emotions, and presenting something distinctly unique from other animated films. The action and thrills are all there … but like all the best superhero movies, it remembers to put complex themes, character emotions, and that extra touch of a human journey to go along with the insane adventure, outlandish comedy, and all-out imagination on display. While I like the first “Spider-Man: Into the Spider-Verse” a little more for its tight three-act structure, this is still a top-tier middle instalment of what could well be one of cinemas new great movie trilogies.

Thanks for reading my review of “Spider-Man: Across the Spider-Verse” … and continue to enjoy the movies you Love!