As we open on the sequel for one of the greatest Spider-Man/Comic Book/Animated movies of all time, we’re welcomed by Gwen Stacey’s (Hailee Steinfeld) narration, setting the tone for Spider-Man: Across the Spider-Verse with “Let’s do things differently this time. So differently.”
And she’s not wrong. Starting this time around in Stacey’s universe, “so differently” is just right; the world around her looks as if it belongs in a beautiful painting made up of watercolours.
Aside from turning things up to 11 by showing us how wide the Spider-Verse actually spans, we can see just how far things have come since this flick’s predecessor.
Aside from turning things up to 11 by showing us how wide the Spider-Verse actually spans, we can see just how far things have come since this flick’s predecessor. Within the numerous styles of animation – that all stink of effort – the sequel also uses stunning visuals to evoke a tone or feeling, not to mention, execute some pretty awesome action sequences.
Much like the first instalment, one of the bonuses of a Miles Morales (Shameik Moore) story is the freshness of it all. Bringing lesser-used villains like, Spot (Jason Schwartzman) doesn’t just show the potential that lies outside of regurgitating the same characters we’ve seen time and time again. It simply demonstrates how successful it can be to tell these alternative stories whilst simultaneously incorporating tons of delicious easter eggs for Spidey fans everywhere.
What elevates ‘Spider-Verse’ from a great Spider-Man movie to that of a great movie, in general, is the heart.
However, what elevates Spider-Verse from a great Spider-Man movie to that of a great movie, in general, is the heart. Whether it be something as simplistic as a father talking to his son through a door, an upside-down conversation or a mother seeing her young boy growing into a man, the emotional segments of these films overtake their live-action peers by leaps and bounds. One can only hope that the creativity and originality that this franchise brings manages to THWIP its way into other Comic Book properties.
Jacked In Reviews ‘The Batman’ (2022)
As we tour Gotham city on a dark, rainy night accompanied by a gritty narration announcing it’s “October 31st”, you […]
Jacked In Reviews ‘Spider-Man: No Way Home’ (2021)
For fear of having to dodge spoilers like the Green Goblin’s pumpkin grenades, Jacked In’s Jack hit the […]
Jacked In Reviews ‘The Whale’ (2022)
After a long hiatus, audiences at Tyneside Cinema welcome the beautiful soul that is Brendan Fraser back to the big […]
Jacked In Recommends ‘Klaus’ (2019)
After being labelled as the postal academy’s worst employee, Jesper (Jason Schwartzman) is reassigned to a frozen […]
Jacked In Reviews ‘Misdirection’ (2023)
Every now and again you’re given a film that doesn’t necessarily have a start, middle and end but still manages to […]
Most Memorable Stephen King Adaptations
When it comes to chilling someone to the very core, no one is more synonymous in the world of horror than Stephen […]
Jacked In Reviews ‘Da Block’ (2023)
Written by Jay Anthony Connor, director Velton J Lishke brings us the story of Mikey (Lladel Bryant) and Sully […]
Jacked In Reviews ‘The Flash’ (2023)
After an astonishingly long production period, audiences are finally given the “last” instalment in the […]
Jacked In Reviews ‘Area OL51’ (2023)
Area OL51 follows a freelance film crew after they get wind of Lucius (Mark Hindman-Smith) – a conspiracy […]
Jacked In Reviews ‘Clean Street’ (2023)
With a quirky opening – reminiscent of shows such as Bewitched (or Betty Boop in this case) – the tone […]
Jacked In Reviews ‘Men’ (2022)
Following the passing of her husband, a young woman by the name of Harper (Jessie Buckley) decides to take a bit of […]
Jacked In Reviews ‘Beau Is Afraid’ (2023)
Ari Aster’s (Hereditary & Midsommar) no two movies have been the same and although Beau Is Afraid has Aster […]