Shadows on the Wall | Spider-Man: Across the Spider-Verse

Spider-Man: Across the Spider-Verse

dir Joaquim Dos Santos, Kemp Powers, Justin K Thompson
scr Phil Lord, Christopher Miller, Dave Callaham
prd Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
voices Shameik Moore, Hailee Steinfeld, Brian Tyree Henry, Luna Lauren Velez, Oscar Isaac, Issa Rae, Daniel Kaluuya, Jason Schwartzman, Jake Johnson, Karan Soni, Shea Whigham, Andy Samberg, Donald Glover, Mahershala Ali
release US/UK 2.Jun.23
23/US Sony 2h20

See also:

Spider-Man: Into the Spider-Verse (2018)

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Even more visually dazzling than 2018's groundbreaking Into the Spider-Verse, this adventure features an even more astonishing array of inventive animation styles. In addition, the story has a free-wheeling, propulsive energy that's thoroughly involving, even if it sometimes feels overpowering alongside the continually shifting textures and colours. And the busy slapstick atmospherics sometimes drown out the soft-spoken dialog. Thankfully, generous doses of comedy and emotion infuse the action.

Struggling to become a superhero Spider-Man in New York, Miles (Moore) considers coming out to his concerned parents (Henry and Velez). But he's distracted by a visit from Gwen (Steinfeld), who now works with a team of inter-dimensional Spider-Men. With access to the Spider-Verse once again, Miles decides to pursue his new nemesis The Spot (Schwartzman), who is creating chaos between worlds. For help, Miles reteams with Peter (Johnson), plus Spider-Punk (Kaluuya) and others. But as Miles learns new truths about his own past and possible future, team leader Miguel (Isaac) wants to contain him.

Rarely pausing for breath, action spirals between universes, each with its own distinct blast of style. Dozens of these are depicted, from a Bollywood vibe to Legos, as well as some live-action. In the space between, thousands of Spider-Men share essential life events, and Miles and Gwen are determined to transcend one specific commonality in their own worlds. This creates dramatic tension that drives the action, adding some meaning to the ever-expanding chaos.

Characters share the stylised attributes of their dimensions, which makes group scenes a feast for the eyes even if they move so quickly that it's impossible to catch everything. Comic book captions fleetingly pop up to identify people and places, but we simply need to hang on for the ride. Much of the design work has remarkably realistic edges, giving the characters a vivid sense of physicality and emotionality whether they're rendered in ink, paint, paper or plastic.

When the filmmakers concentrate on the characters' internal lives, there is plenty to engage with. And they seem just as excited about peppering scenes with hundreds of little referential gags, which will keep fans delighted. But the rapid-fire mayhem might be a bit much for casual moviegoers, as will the fact that this is clearly the middle chapter in a trilogy, ending just as the action shifts up another gear. Thankfully, we shouldn't have to wait five years for the conclusion.

themes, language, violence 1.Jun.23

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