We’ve had to wait four years for the next installment of the best Spider-Man movie, Into the Spider-Verse. Which is too long, and also a completely fair amount of time to wait for a great movie. Seriously, the best movie-making should take time, kids. It doesn’t just happen out of nowhere. (There’s a specific reason I’m harping on this, but we’ll get to that later.)
[Minor spoilers for Spider-Man: Across the Spider-Verse]
When you get right down to it, these are still the best Spider-Man films—and without question some of the best superhero films—ever made. I suppose I could just make that the entirety of the review, but it would be beyond disingenuous not to acknowledge the work these movies are putting in. So let’s start with that, and get grittier with it as we go.
There are some folks who are going to find the film tiring or possibly overstuffed, and to that I say: It’s okay to watch a film more than once. Or even pause once you can watch it at home to catch your breath. Some films truly do merit repeat viewings and personal pacing, and this one absolutely does. This is becoming a more common facet in television and film, with a new generation of filmmakers who are creating movies that feel more like the insides of their heads. (For a great specific example, creating the story for Everything Everywhere All at Once led to co-director Daniel Kwan getting a late ADHD diagnosis—the film is clearly meant to mimic the feeling of having that neurotype.) It can lead to dazzling stories, but they’re not the sort that can always be dissected as you go. They need repetition, they need time to marinate, they demand a deeper interaction on the part of the audience… as much of the best art does.
Across the Spider-Verse is the next chapter in Miles Morales’s story, but it begins with Gwen Stacy (Hailee Steinfeld). After being accidentally super-outed to her father, who does not approve of her double life, Gwen winds up working with a special cadre of Spider-Peoples led by Miguel O’Hara (Oscar Isaac), who gives Gwen the opportunity to work with her incredible new mentor Jessica Drew (Issa Rae), but also offers Gwen the possibility that she might be able to see her best friend from another universe one day…
Meanwhile, Miles (Shameik Moore) is having a real rough time balancing his Spider-duties with his schoolwork and normal life. The appearance of a new villain-of-the-week named the Spot (Jason Schwartzman) complicates things further when he insists upon having Miles’s attention and worming his way into the multiverse to get it by powering up in other dimensions. Cue the reappearance of Gwen, Miles learning about the Spider-Team, and a boatload of strife once he sees what things look like behind the curtain.
What, you didn’t think that Spider-Team was going to be all sunshine and daisies, did you? Miguel is literally the only Spider-Man who isn’t funny, in case you needed a clue.
Across the Spider-Verse works on a multitude of levels, telling different stories depending on who you key into for a given viewing. At the core we’ve got Miles, who is trying to figure out how to insist upon his place in a world that wants to deny him; how to believe in his own strength and abilities; how to balance what he wants for his future with what he needs in life to remain himself. For Gwen, we’ve got a tale about belonging, abandonment, and the difficulties inherent in policing (which they pointedly create with a white character rather than invoke Black suffering to make their points). For Peter B. Parker, we’re dealing with changes wrought by parenthood and new stages in life, plus his constant battle with low self-esteem and personal loathing. And then we meet a whole new crew, the best of which is undoubtedly Hobie Brown’s (Daniel Kaluuya) Spider-Punk, who practically steals the whole movie out from under everyone in the precious few minutes he’s on screen.
What? Anti-establishment Spider-Man is truly the hero we all deserve, I can’t do anything about that. (“It’s a metaphor for capitalism,” he says at one point of a gaping void, and I shrieked at an uncomfortably loud volume, sorry to the stranger on my left.)
As for the busy-ness of the film, it’s worth pointing out that the fastest and most layered pieces of the plot aren’t done without purpose—much of the overwhelm an audience member might feel is meant to mirror Miles’s sense of overwhelm and help you key into his mental state, always coming at points when he’s being barraged with too much new information, or too many new Spider-Friends. The film still has plenty of points where it slows down and allows for moments of connection, which are often the best parts of the film, and beautifully acted to boot. Every bit with either of Miles’s parents (Luna Lauren Vélez and Brian Tyree Henry) are always perfect places to recenter, just to start, and unsurprisingly reflect the effect they have on Miles’s life.
For all that the movie has one of those over-two-hour runtimes that we’re coming to dread (how often are they ever truly earned?), Across the Spider-Verse doesn’t skimp on the important beats or oversaturate us with the action to the point of fatigue. (Single scenes-worth of character development make the MCU look like it’s written by a first grader in crayon for how much depth we get.) The level of detail and work that goes into every frame is somehow more stunning on the second go than the first, and the gags are so multifaceted that you’ll often be getting the tail end of a rule-of-three joke followed by a smart quip at the same time you’re looking at a meme—meaning you’ll literally be laughing at two or three jokes simultaneously.
There are a couple of moments that don’t quite sit right in the execution, though they’re minor quibbles in the scheme of things. In particular, there are parts to the logistics of Miguel’s worldview that seem undercooked or poorly explained, and it’s hard to tell if that choice is intentional—i.e. if it’s there to provide holes in his logic—or merely a throwaway to give him reasons for the choices that he makes that feel in keeping with his character. Both are important, but as the former pertains to the logic within their worldbuilding more clarity on that front is needed, particularly with regard to the concept of “canon events” that O’Hara cites within the film. Hopefully there’s more at play there, because the setup around the character is genuinely interesting, and deserves careful rendering all the way through. After all, what does it mean to be the only Spider-Man who doesn’t get by on a good laugh?
Now, the reason I harped on good movies taking time is, in part, because Across the Spider-Verse contains a full Empire-Strikes-Back-style cliffhanger, and I have never seen a theater explode in upset and betrayal the way my showing did at a “…to be continued” flashing across the screen. It feels strange to realize the ways in which moviegoing has changed—our expectation is now to be given what we desire immediately. (I’m gonna blame streaming a little for this one too: TV is better when it doesn’t drop all at once, and you’ll never change my mind about that.) It’s not as though the film doesn’t telegraph its ending either—you’re already two hours in when a major plot twist comes down—and it was previously announced that this was intended to be a two-parter. Which is why I’m hoping that we have to wait a bit for part three, just like we used to. Let folks stew with this installment for a while, get time to theorize and turn over every little detail in their heads. There’s plenty there for fandom to enjoy over the next few years.
As for said cliffhanger, it begs all sorts of questions about the events in life that shape us, and I cannot wait to find where it goes. So to all my fellow multiverse hoppers, get yourself to the theater, and come theorize with the rest of us until part three lands in theaters.
Emmet Asher-Perrin did love watching the theater explode throughout the whole film regardless. You can bug them on Twitter and read more of their work here and elsewhere.
I’d forgotten the announcement of two movies and had completely lost track of the run time so I felt quite betrayed when the movie shifted into “To be continued…” mode. It cut off right at the peak of their jump and it’s an open question if they can stick the landing.
I cannot stop gushing about this movie to people. I am glad I am not the only person making the Empire Strikes Back comparison (one of my all time favorite movies) and to me it works on several levels. First, the obvious cliffhanger. Honestly, I don’t think I’ve exclaimed so loudly at a movie ending (I actually completely forgot it was a two parter) since I saw Empire Strikes Back as a teen – I still distinctly remember thinking, as the were on that medical frigate, oh, wait, this can’t be the end, can it? No, I think there’s going to be another scene and then BAM, Directed by Irvin Kershner appears on the screen.
And you are right, it’s so rare to have a good cliffhanger in movies, and I totally agree with you about streaming (I’m looking at you Stranger Things, not all of us have the time to binge 7+hours to avoid spoilers!). Because, speaking of cliffhangers and streaming, I still have super fond memories of those WandaVision endings and having something to chew on with coworkers all week.
But back to Spider-Verse – I also think this works as ESB because this is a sequel that I feel truly elevates its source material – the lore, worldbuilding, characters, relationships and stakes are all deepened, and there is even that exploration of your darker mirror self (I got huge Luke-in-the-cave vibes from the ending scenes). And kind of similarly – both the original Star Wars and the original Spider-Verse movies are movies I’d initially had no interest in seeing.
Anyway, all that aside, I loved the new Spider-People (my heart belongs to Pavitr), loved some of the tantalizing connections we can try to make to all the Loki/multiverse/TVA/What If shenanigans if we are so inclined, I LOVED THAT THERE IS A LEGO-VERSE, and I also think the general themes of the stories regarding both relationships (between the parents and children or mentors) but also this whole concept of agency/creating your own destiny/a sense of belonging vs the concept of rigid ‘canon’ or being told you are a mistake/don’t belong is really interesting. Both within the story, but also in a meta level in terms of all the fan discussions (and we love to have them) about canon and fixed points. (Maybe the void trying to get rid of a deviation from a ‘canon event’ really IS a metaphor for a certain kind of capitalism, haha, at least applied to a certain way of creating/consuming art).
There was kind of that groany feeling at the all too familiar, “To be continued…,” but on the other hand, I was also a little relieved. Not too long before the end, I was feeling like the movie was getting a little long, and I felt conflicted about that, because I didn’t want to have to say ‘it felt long,’ like there was still being bad about it when I had otherwise really been living the movie. So it was nice to know it was because the movie was ending, so then it maybe wouldn’t feel long, but the right length. I kind of want to go see it again now knowing it is a cliffhanger.
I remembered that this movie was originally called Part I, so I was expecting a cliffhanger. I was also expecting it a couple of times in the last fifteen or so minutes of the movie, but that last twist of the plot was great and unexpected.
On the other hand, my daughter actively avoids spoilers and (apparently) didn’t know the original name of the movie, so it came out of the blue for her. She squealed, losing about half her age for that moment.
Well done, Sony!
Question: the first Spidey-verse was great! Sadly, it triggered my epilepsy. Will the second one do the same? I REALLY want to see it, but don’t want to pay that price. Any thoughts?
@5: If the first one triggered, the second will definitely. The first 10 min was throbbing neon fast-cuts on steriods.
I got the pleasure of being completely surprised by the cliffhanger. I didn’t know it was supposed to be two parts, and neither was I disappointed. Honestly in the theater I think it was met well with applause. It certainly earned a very rare “Holy !@@@@@#$” from me when the bubble popped up.
There is so much going on in this show. It feels as if it’s in conversation with not only every Spiderman incarnation that’s ever come before, but honestly much of comic-dom. What does it mean to have a “canon event”? Are these events truly fixed moments in time and space a la Doctor Who? Must tragedy become a rigid definition of us, or merely one shaping event among many? 2099 wants us to believe that Captain Morales must die because that’s a canon event in the Spiderman journey, but we see that death in Universe 42 is not a catalyst for good rather for villainy. Miles is certainly shaped to a degree by grief at the death of his Uncle Aaron, but his journey in “Into” seemed much more about finding his own way. Similarly Gwen finds that fate can at least be winked at.
So if tragedy is not the canon event that 2099 maintains that it must be, why does he want to insist on it happening? Is it a sense that since he experienced it, no one else’s experience is valid unless they too have to go through that? I’m just mentally geeking out about the storyline already in my head just writing this. :-D
I forgot it was supposed to be two parts and didn’t realize it’d already been over 2 hours with major plot points unresolved, so the “To Be Continued” really got me. It will definitely need at least one more watch, maybe one in the theatre and then another one with a pause button to read the caption boxes.
For me, the concepts of canon and Miles not belonging are very much in conversation with the comics. Back when Marvel created the Ultimate universe, in which Peter died and Miles became Spider-Man, fans lost their $%!@@@@@ at the whole idea of Peter dying, even though over here in 616 he was totally fine. Not to mention that Miles was Black and Puerto Rican! So I felt like those themes in this movie reflected on that original reaction to a now beloved character. I can’t wait to rewatch on Disney+ with my finger on the pause button!
My theory is that the Spider-people’s understanding of canon events and dimension collapse is wrong in some fundamental way.
The intended Spider-Person of Earth-42 missed what has to be the biggest canon event of them all when they didn’t get bit by that spider after all, yet the dimension is doing fine.
I was SO HAPPY that it ended on a cliffhanger because I was not at all ready for it to end, despite the length. That we will get another full movie of this? YES PLEASE.
I was thrilled with the cliffhanger; when I was younger, so many comic books I read ended just that way. And as the review and other commenters say, I cannot begin to describe just how well-written this movie is. Even with all the action and all the jokes and the plethora of Spider-Folk, it never loses sight that it’s people who are important, not pretty pictures on the screen. Just compare and contrast with the execrable new Transformers movie.
I knew going in that this would be the first part of a duology, so I shall withhold judgement until we have the whole story: my first impressions are that where this film is good, it’s extremely good, but that the film is a bit crammed.
I’m also leery of seeing a ‘whole organisation of Spider-Man’ being introduced mostly to act as the heels in a cage match with Miles (One feels especially sorry for Ben Reilly, who was the Spider-Man while I was getting into comics, for getting repeatedly reduced to a punchline and getting absolutely nothing more).
On the other hand the art throughout was quite sublime; the cast are doing splendid work; “J K Simmons as J Jonah Jameson is the universal constant” remains a delightful running joke; Mr Donald Glover makes the perfect cameo; seeing a LEGO Marvel cinematic universe gives me hope for the LEGO JLA/Avengers movie that may well be the perfect vehicle for a DC/Marvel crossover; that little gag about MCU Peter being an absolute pain was delightful; and, as mentioned, the characters are rather good.
I do hate punkers, though, so nuts to Spider-Punk and his schtick.
Ah, I almost forgot to add – it makes perfect sense that a whole hero team built of Spiders would prove distressingly dysfunctional (A whole multiverse of angst, loner tendencies and recurring inability to STOP TALKING? Not exactly the foundation of a strong whole).
“I felt like this episode had some amount of closure and left some things in a good place, while clearly setting up very nicely for the next installment” <- seems like something I could imagine myself saying back in the serials days, and yet that came to mind with this movie in a way that made me think “I could totally handle ten movies in a row like this, each one being 140 minutes and having this much character growth and depth, closing (even if temporarily) a few parts of the story, advancing some others, and cliffhanger-ing to the next one.” Long live this series!
Absolutely one of the best of all time.