Preamble

I’ve honestly felt daunted by seeing and reviewing this movie. With the advent of social media, the flutter of reactions to any big tentpole comic book movie seems to feel omnipresent. This occasionally makes me feel overwhelmed in contributing to the conversation (via my blog posts). But it comes with the territory. However, that aside, it’s honestly been quite something seeing the wave of positivity bestowed upon this film. In many ways, I’ve not seen anything in the genre since the likes of Toy Story 3. However, like ever, I’ve diligently side stepped any reviews (it’s part of the process). With that in mind, have you seen Spider-Man: Across the Spider-Verse? Let me know in the comments below.

Review

From Joel Schumacher to Zack Synder, many directors have aspired to capture the indelible spirit of the comic book medium. However, 2018’s Spider-Man: Into The Spider-Verse hit the bullseye with an animation style that both evoked the form of the medium and replicated the experience of reading one. It’s as close to a living comic book as the movies have gotten, with a dizzying imagination that never took away from Miles Morale’s search for identity.

With a slight lump in my throat and the remains of wet tears running down my face, I’m amazed to say that Across the Spider-Verse is a profound piece of pop art that wrestles with the morality that has shaped comics.

Over a year after the first movie’s events, Across the Spider-Verse depicts Miles Morales (Shameik Moore) squaring with a new enemy called The Spot (Jason Schwartzman). Initially perceiving him as a minor nuisance, the vengeful super villain starts causing trouble when he realizes he can travel through the multiverse at will. This starts a chain of events that causes Miles to clash with old and new allies over the fate of his father, Jeff (Brian Tyree Henry).

On the surface, one can look at Across the Universe cynically and see the trace elements of the formula that made Spider-Verse soar. This comprises of Miles’s journey being juxtaposed with another supporting multiverse character that’s a backdrop for a colourful supporting cast that steal the show in their spirit and comedy.

However, the notes Across plucks and the themes at play instantly dull this repetitive notion. The first feature was all about Miles finding his identity amid the Spider-Man from his universe dying. It used the stylistic trappings of a comic book for the central character to have the confidence to find his voice as a four-coloured creation.

Across continues this journey by asking the question, What is your story? Initially set up in a parents/teacher meeting, the movie filters this idea through a parental lens, with Miles’s parents grappling with their frequently absent son being able to meaningful continue his ambitions outside of their care. In the film’s best moments, Across deals with this parental angst of letting your kid go with a touching poignancy. The standout scene is a speech where Miles’s mom, Rio (Lauren Vélez), says that it now falls to Miles to look after the little boy that she raised by making sure he feels loved and valued in the communities he finds himself in.

In a larger sense, this idea of Miles grappling with his story is expressed in the conflict with Miguel O’Hara (Oscar Isaac). The Mexican and Irish-based Spider-Man is the leader of the Spider-Society. They’re a group of Spider-People from various universes who are dedicated to protecting and preserving the multiverse. They do this by allowing canon-based events to happen to each respective incarnation of the Web Head. Miguel once tried to tamper with this notion by taking the place of another Spider-Man, which resulted in the death of an entire world.

He believes that Miles is an anomaly who should allow his father to die to prevent the death of his universe. The philosophical conundrum is based on the thought experiment of the Trolly Problem, whereby the value of one life versus five is questioned. It also probes the notion at the very heart of comics which is canon and the morality that underpins the concept. Is Spider-Man heroic because he let one person die versus the countless he saved? Or does his identity as a web-based hero cease to exist because he saved that one person? The conflict puts into focus the tragedy that’s underpinned the character since 1962.

On a personal level, the idea of Miles being labelled an anomaly and his existential grappling with that resonated with me on such a deep level. However, the reason as to why would be a self-indulgent exercise in trauma dumping for this post. I may perhaps get into it in another post.

Stories that have to do with the dialogue between parents and kids greatly appeal to me. And I think my adoration of Across the Spider-Verse comes from how the relationship between Miles and his parents marries up so well with the central theme. In a sense, Miles cannot fully tell his story to his parental figures because he wants to protect them. But this choice leads to behaviour that causes his parents to question if he can meaningfully carry on with the values they installed in him. From Miguel’s savage logic to Rio’s tear-inducing speech to Miles, the idea of parental figures having faith in telling your story is what underpins Across.

Elsewhere, Across the Spider-Verse has impressive visuals. From Gwen’s world that’s like a pastel-inspired episode from Life is Strange to the pencil sketched charm of Pavitr’s universe, Across’s ambitious art styles are a wonder to behold. These visuals are punctuated by live-action elements that are pulled from various movies in the Spidey canon over the years. I also appreciated how biting, Across’s humour is at times. Jokes vary from commentary on modern art to a subtle and rapid jab about cultural artefacts.

In terms of direction, I appreciated the camera moves that had a sense of propulsion to them. One good example that comes to mind is a scene when Miles is navigating a rooftop party. The looseness of the tracking shot greatly illustrates Miles’s awkwardness at attempting to convince people he’s been at the party all along.

With a mere one viewing under my belt, there’s so much more to process about Across the Spider-Verse. For example, I’m still not sure what side of the debate I’m on as to whether or not Gwen is transgender in the film. But in the spaces between the genuine moments of pauses in heated exchanges and Gwen’s drum solos, the 2023 animated sequel represents a genuine step forward for the genre. Like all the best movies, it shows what’s possible and what bothers us with great ease and delicacy. It just happens to do so through a medium that’s been maligned and undersold. And that’s not bad for something that used to be called “funny books.”