*This review will try to stay as spoiler-free as possible, though it’s best not to read anything about Spider-Man: Across the Spider-Verse before seeing it*
When Spider-Man: Into the Spider-Verse was released in theatres in 2018, it forever changed the animation landscape. It offered a bright and hyperkinetic look at the Spider-Verse that not even Marvel’s Multiverse Saga has currently matched in terms of visual scale and scope. But it also contained a profoundly human story, in Miles Morales’ (Shameik Moore) leap of faith. It was inevitable that a sequel would get released, and it got even bigger when it was announced that the movie would be split up into two parts. After multiple COVID-19-related delays, the first part, Spider-Man: Across the Spider-Verse, has finally swung (pun intended) to theatres. At its best, the movie is an audacious and endlessly creative superhero picture that showcases exactly what audience members should get out of animated movies. At its worst, Spider-Man: Across the Spider-Verse is bogged down by constant exposition and the limitations of a “Part One.”
Across the Spider-Verse takes about an hour to get going, as the movie re-introduces audiences to Gwen Stacy (Hailee Steinfeld), who becomes a member of Miguel O’Hara’s (Oscar Isaac) Spider Society after an incident involving her version of Peter Parker (Jack Quaid) causes her to flee her universe. In Miles Morales’ world, Spider-Man battles with The Spot (Jason Schwartzman), whose body is filled with portals. After a fun battle with Spider-Man, The Spot realizes that his portals can also travel through different dimensions, which leads Gwen Stacy to return to Miles’ world to apprehend him. Unfortunately, he gets away, and the Spider-Society is now on the brink of a Multiversal War.
That’s as far as one can go without spoiling the film’s core plot, and plenty of surprises are best discovered in a sold-out theater. Moments of fan service don’t feel aggressively shoved in for the sake of fan service and cameos but feel amazingly thoughtful and rewarding. Some of them are more obvious than others (especially if one has followed the cinematic continuity of Marvel films since their inception). Still, there are massive deep cuts that the most die-hard fans of Spider-Man will absolutely LOVE. Different animation styles also enhance some of the easter eggs and blend into the film’s hyperkinetic style beautifully. The film’s last hour is filled with amazing easter eggs and an incredible action setpiece inside the Spider-Society that more than delivers on the premise “Across the Spider-Verse.”
Every action setpiece is a thrill to watch. It’s a non-stop succession of diverse animation styles, lively colors, and comic-book pop that a live-action universe can’t replicate. This feels plucked straight out of a comic: the endless creativity of an artist drawing their characters in the middle of an extensive action sequence, the flashy colors, and the energy that permeates every frame. There isn’t a single frame that doesn’t feel meticulously crafted, and it’s particularly more impressive to witness on an IMAX screen, where the scope feels bigger, the colors are brighter, and the imageries feel more jaw-dropping. There’s no greater feeling than to see Miles Morales leap into a new world on a 15/70 screen designed to pull you into the film. And while the style can sometimes feel overwhelming, it’s far more engaging than the Pixar quest for realism. Animation is the most malleable art form out there, and few studios use it to its fullest effect. Spider-Man: Across the Spider-Verse stretches and squashes so many styles into one; it’s a triumph to see that it’s not more overwhelming than it is.
Its voice cast is also superb. Shameik Moore and Hailee Steinfeld have terrific chemistry together as Miles and Gwen, and the movie greatly expands on their respective relationships with their fathers (played by Brian Tyree Henry and Shea Whigham), who are both police captains in their respective worlds. Many heartfelt scenes involve their fathers interacting with their children, not knowing they are Spider-Man/Spider-Woman. These scenes are handled with care and add a massive amount of heart and emotion to what was an already emotional franchise in the first film. Isaac is also excellent as Miguel O’Hara, stealing the latter half of the film as its “antagonist,” trying to stop Morales from returning to his world to prevent a Canon Event. It’s exactly the same thing as What If…‘s “Absolute Point.”
It doesn’t retcon pre-existing Multiversal lore introduced in the MCU but expands on it smartly and engagingly. O’Hara is certainly the most intriguing new addition to the film. However, Daniel Kaluuya and Karan Soni are great supporting additions to the cast as Spider-Punk and Spider-Man India, respectively. As far as the main villain goes, he’s fairly underdeveloped. Who knows, maybe the filmmakers will further develop The Spot in Beyond the Spider-Verse, though it doesn’t look like this will be the case…As much as he believes he is not a “villain of the week,” he is as unmemorable as them, even if Schwartzman does his best and has his fair share of hilarious physical comedy.
All of these elements are incredible and part of the reason why audiences should flock en masse to see this movie on the biggest screen possible. Hopefully, when the movie makes tons of money, it will put the “superhero fatigue” discussion to bed. However, as audacious as an animated film is, Across the Spider-Verse is unfortunately bogged down by “Part One” limitations. It has a [very long] beginning, middle…and no end. It ends at its highest when audiences will think this is where the movie gets going. But it doesn’t. It slaps a “to be continued” and hopes audiences have enjoyed the movie enough to return for more (of course they will, but its cliffhanger twist can be seen coming a mile away). It is unfair to compare this movie with something like Avengers: Infinity War, which was also a “Part One.” Still, that movie had a beginning (Thanos arriving on Earth), a middle (Thanos collecting the Stones), and an ending (The Avengers battling Thanos) while setting up clues that will lead up to Avengers: Endgame.
For most of its 140-minute runtime, Across the Spider-Verse spends much time dumping multiversal exposition and consistently setting up the main plot that the next film will tackle instead of crafting a compelling story while foreshadowing the sequel. Two things can be done simultaneously, and it feels way more satisfying if the film tells a story rather than setting up the story. That was an inherent problem in films like Denis Villeneuve’s Dune, Fast X, and Ponniyin Selvan: Part One and, unfortunately, bogs down Across the Spider-Verse significantly. The movie can’t live up to its full potential as a sequel to Into the Spider-Verse, because it’s far too busy setting up the second installment instead of focusing on the present moment.
Because of this, Across the Spider-Verse doesn’t reach the same heights as Into the Spider-Verse. However, it’s still a magnificent animated film and one whose style can’t be replicated. Daniel Pemberton’s score elevates the style to even more exciting heights, its action sequences rank high in the pantheon of Spider-Man-related action scenes, and the vocal cast is all terrific, particularly Isaac, who exudes a great sense of menace in his portrayal of O’Hara. It would’ve been best if it was a complete sequel, but Beyond the Spider-Verse is almost guaranteed to be spectacular.
Rating: 
Director: Joaquim Dos Santos, Kemp Powers & Justin K. Thompson
Stars: Shameik Moore, Hailee Steinfeld, Brian Tyree Henry, Jake Johnson, Jason Schwartzman, Daniel Kaluuya, Karan Soni, and Oscar Isaac.
Runtime: 140 minutes
Country: United States
