To truly appreciate *Spider-Man: Across the Spider-Verse (ATSV)*, it’s important to view it within the right context. Rather than simply being a direct sequel to *Into the Spider-Verse*, it functions as the carefully constructed second chapter in a trilogy, with the final installment slated for release in March 2024. This detail, however, seemed to escape some viewers, especially those at my screening, who were surprised and disappointed by the film’s ending. I highlight this because grasping the film’s intent is crucial for fully understanding its purpose.
First and foremost, *Spider-Man: Across the Spider-Verse (ATSV)* is an extraordinary showcase of technical innovation. It seamlessly blends nearly every animation style known, often at a rapid pace that challenges the eye to keep up. Characters like Spider-Punk and the alternate-universe Vulture boast unique animation and coloring styles, while each universe—of which there are many—brings its own distinct visual identity.
The set pieces are nothing short of breathtaking. One of the standout moments is a battle at the Guggenheim Museum, where Miles Morales, Spider-Gwen, Jessica Drew (Spider-Woman), and Miguel O’Hara (Spider-Man 2099) join forces against the Vulture. The scene, painted in sepia tones reminiscent of Leonardo da Vinci’s sketches, brings the Vulture to life as a mechanical entity from the 15th century. Another memorable scene is the intense battle between Miles and the Spot, one of the film’s primary antagonists. Their fight unfolds through ever-shifting ink-blot dimensions, with both characters vanishing and reappearing unpredictably, their movements fluid and disorienting as they clash at dizzying speeds.
Despite the complex visuals, the narrative stays clear and engaging, allowing the audience to follow the twists and turns effortlessly. The film delivers a jaw-dropping cliffhanger of an ending that redefines the term, and it does so without feeling forced or contrived. Without spoiling too much, it’s evident that the screenplay, crafted by Phil Lord, Christopher Miller, and David Callaham, provides a solid foundation for the film’s magnificent animation.
The directorial team—Joachim Dos Santos, Kemp Powers, and Justin K. Thompson—ensures that the visual spectacle never devolves into chaos. Whether the action takes place in Mumbattan, the vibrant Spider Central (home to over 200 Spider-Beings), or even in a delightful stop-motion Lego universe, the film keeps a cohesive rhythm that enhances its thrilling and immersive nature.
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The acting is just as complimentary: Shameik Moore and Hailee Steinfeld reprise their roles as Spider-Man and Spider-Gwen, as does Jake Johnson, portraying Peter Parker, the Spider-Man of “our” Earth. Special kudos to James Schwartzman as the (initially) wimpy Spot and a tremendous emotional performance by Shea Whigham as Gwen’s conflicted father. There are many more, including Karan Soni as Spider-Man India and Luna Lauren Velez as Miles’ compassionate mother.
Back to my original premise: The two existing Spider-Verse movies are perhaps the most brilliant continuations of a trilogy since the first two Godfather or Star Wars films, and this brings us to my observation: Both the movies mentioned above are encapsulations of cinematic traditions, the Gangster film and the swashbuckling science-fiction serial. The tropes found in both genres are echoed in both episodes and have been refined to the point where they seem almost unique rather than. The Spider-Verse movies perform the same function but for a different medium.
The Spider-Verse films summarize the entire history of the Spider-Man saga that spans the gamut from Amazing Fantasy #15 to the multiplicity of Spider-Man comics available today. In doing so, every era and incarnation of Spider-Man (yes, even including the lamentable Ben Reilly) is represented, most often in Easter Egg form or in an alternate format. In effect, Spider-Man, as a creative concept, IS the Spider-Verse, an iconic figure malleable by countless imaginations. ATSV is cemented together by mythological “canons,” which cannot be violated, but the character himself can have boundless forms and histories within that framework.
One canon, not mentioned in the film but certainly part of the comic book legend is a five-word phrase. Those disappointed at the movie’s end were unaware of this canon:
“To be continued next issue!”
I am now 67 years old. I have been reading Marvel Comics since the 1960s, during the heyday of Lee, Kirby, Ditko, et al. I can recall one afternoon, after purchasing The Amazing Spider-Man #199 and the thrill of reading it to the last panel where we were led to believe Mysterio killed Spider-Man by shooting with a dart containing enough poison to kill a hundred elephants. The proclamation below the body of Spider-Man as he lay motionless on the floor: “Next Issue: Spider-Man #200!” How could I wait a month for that! And that is what our lamenting moviegoers did not appreciate: The Canon. ATSV gave me the same thrill, and I cannot wait to feel it again.
Animation Scoop’s resident Movie Reviewer, Martin Goodman is a veteran writer specializing in stories about animation. He lives in Anderson, Indiana.
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