News Paper

Spider-Man

Spider-Man: Into The Spider-Verse" is widely considered as the best comic-book film of the last decade. This animated masterpiece broke all the conventions of superhero movies with its unique and refreshing approach. It showcased that anyone could be Spider-Man, including a graffiti-tagging kid from Brooklyn and even a pig named Spider-Ham. The film opened up endless possibilities for comic book movies, and with the catchy tune of "Sunflower" by Post Malone and Swae Lee, it created an immersive and enjoyable experience.

Even after five years, the Spider-Verse continues to expand in thrilling ways. The upcoming sequel, "Spider-Man: Across the Spider-Verse," promises to be as dazzling as the original. The visuals are a feast for the eyes, with vibrant colors dripping, inverting, and splattering in a stunning pop-art swirl.

While "Into the Spider-Verse" delighted in the collision of different universes, "Across the Spider-Verse" takes it up a notch. Spider-Men and Spider-Women from various dimensions tumble forth like unloaded clown cars. The film's frenetic pace challenges the audience to keep up with its web-slinging action, and the sheer abundance of characters and events can be overwhelming.

However, beneath all the chaos, "Across the Spider-Verse" remains remarkably grounded as a coming-of-age tale. The brilliant writing team of Phil Lord, Christopher Miller, and David Callaham masterfully detonates conventional storytelling and assembles the pieces in a way that is deceptively sweet and simple.

The directing team for the sequel has changed, with Joaquim dos Santos, Kemp Powers, and Justin K. Thompson taking the reins. The story follows Miles Morales, voiced by Shameik Moore, who is now a 15-year-old with a better handle on his superhero abilities. However, he struggles to communicate with his parents, Jefferson and Rio, who are growing increasingly concerned about his strange behavior.

Gwen Stacy, voiced by Hailee Steinfeld, also faces similar issues. By revealing her secret identity as Spider-Woman to her police captain father, it has caused a rift in their relationship. Her father blames her for the death of Peter Parker.

When Miles and Gwen, who are stuck in different dimensions, meet again and swing through New York City together, they are not simply a romantically linked pair but rather two teenagers trying to navigate their own challenges. They find solace in each other's company, gazing at an upside-down Manhattan from the underside of a ledge on the Williamsburg Saving Bank Tower.

The movie constantly plays with the notion of exceptionalism. Miles and Gwen feel exceptional in their abilities, thinking their problems are unique to being gifted individuals. However, the film reinforces the idea that while they are immensely talented, they are not alone. When a pregnant superhero arrives on a motorbike, Gwen exclaims, "I'm Spider-Woman," to which the newcomer replies, "Me too."

As expected from a "Spider-Verse" movie, there are numerous versions of Spider-Man from parallel worlds. Each brings their own unique flair to the story. Additionally, the emergence of Miles' powers attracts the attention of the Spider-Social, a group of Spider-People who safeguard order in the multiverse. Some of them, like Daniel Kaluuya's Spider-Punk, are cool and stylish, while others, like Miguel O'Hara (voiced by Oscar Isaac), are haunted and burdened.

When different worlds collide, prescribed storylines are disrupted. The multiverse allows for seemingly anything to happen, but Miguel warns that certain foundational narrative beats must occur for every Spider-Man, including the sacrifice of a loved one.

As Miles tests these tenets, he sets in motion a cataclysmic battle across the Spider-Verse, defying the traditional formula of superhero movies. For Phil Lord and Christopher Miller, known for their post-modern approach in films like "The Lego Movie" and "The Mitchells vs. The Machines," this battle against convention is something they have been preparing for their whole lives.

The danger of traversing these crisscrossing dimensions is that no reality seems to hold much significance. With the multiplication of worlds and Spider-Men, "Across the Spider-Verse" runs the risk of becoming overwhelming. However, it manages to stay true to the core emotions of teenage characters and the complex relationships between parents and children.

This Marvel movie stands out as the first one that left me with a palpable disappointment when it ended. "Across the Spider-Verse" is a sequel in two parts and concludes with a cliffhanger, showcasing its commitment to exploring the multitudes within each person. As the principal in the film says, "Every person is a universe."

"Spider-Man: Across the Spider-Verse," released by Sony Pictures Animation, is rated PG by the Motion Picture Association for sequences of animated action violence, some language, and thematic elements. The film has a runtime of 117 minutes and receives a rating of three and a half stars out of four.