![]() ![]() The script (which producers Phil Lord and Christopher Miller wrote with David Callaham) is at turns clever, quippy, and heartfelt, but it’s the sheer joyous spectacle of the thing that knocks you over. Across the Spider-Verse looks incredible, even better than the groundbreaking first installment, but what’s truly impressive about it is how willing it is to entrust its storytelling to its animation. When her dramatic exit from practice melts into a shot of her navigating a crowded subway train, it’s breathtaking - a distinctive visual language attuned to the inner life of a moody teenage girl with piercings and ballet shoes. Gwen, who plays drums in a punk band and has embraced the accidental undercut she received in the first film, lives in a New York where lines are blurrier and backgrounds are a soft wash of pinks and purples that suggest buildings - like a watercolor. But when the film, sequel to 2018’s Spider-Man: Into the Spider-Verse, begins, it picks up on Earth-65, a universe where Gwen Stacy (Hailee Steinfeld) was the one who got bitten by a radioactive spider and developed superpowers. ![]() The Brooklyn belonging to Miles Morales (Shameik Moore), the 15-year-old hero of Spider-Man: Across the Spider-Verse, vibrates on the frequency of a comic book with a bustling cityscape with colors just slightly out of register and textures made of benday dots. ![]() ![]() Aside from the “to be continued” ending, the new Spider-Verse is spectacular. ![]()
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