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 Recommends ‘Girl in the Picture’ (2022)
After the body of a young woman is found by the authorities, they discover she has left behind a son and a man […]
Jacked In Reviews ‘Furiosa: A Mad Max Saga’ (2024)
Before you can get comfy in your (IMAX, obviously) seat, George Miller quickly answers the question raised upon our […]
Jacked In Recommends ‘Sound of Metal’ (2019)
Sound of Metal follows the life of heavy-metal drummer Ruben, whose life gets thrown into disarray as he begins to […]
Jacked In Reviews ‘Oh No, Guano!’ (2023)
Dan McGee’s Oh No, Guano! tells the story of an individual (Christian PK Reeve) trying to reach a job […]
Jacked In Reviews ‘The Unbearable Weight of Massive Talent’ (2022)
Trisha Yearwood’s How Do I Live begins to play over the opening credits and we are met with two stoners watching […]
Jacked In Recommends ‘V for Vendetta’ (2005)
Based on Alan Moore’s DC comic series of the same name, written for the screen by The Wachowski’s (The Matrix), V […]
Jacked In Reviews ‘Superman’ (2025)
As we look upon a vast arctic setting with a gorgeous blue hue, we are quickly brought up to speed with everything […]
Jacked In Reviews ‘Wicked Little Letters’ (2024)
Thea Sharrock’s Wicked Little Letters, a movie that is British from head to toe, so what better place to […]
Jacked In Reviews ‘Ghostbusters: Afterlife’ (2021)
As the eerie paranormal music begins to play over the opening credits of Ghostbusters: Afterlife you’re immediately […]
Jacked In Recommends ‘The Lost Daughter’ (2021)
Based on the novel by Elena Ferrante, The Lost Daughter tells the tale of Leda (Olivia Colman), a middle-aged, […]
Jacked In Recommends ‘Legend’ (1985)
No, not the Kray twin biopic starring Tom Hardy. Ridley Scott’s Shakespearean, operatic tale Legend sees our hero […]
Jacked In Reviews ‘Psycho’ (1960)
On June 16th, 1960, Alfred Hitchcock’s rollercoaster of suspense, Psycho, first premiered in New York. On October […]