Critic Bob Mondello says happily, "Spider-Man: Across The Spider-Verse" exceeds expectations.īOB MONDELLO, BYLINE: Here we go again, again. But a box office take of almost $400 million and the film's winning the Oscar for best animated feature have set the bar a whole lot higher for the sequel.
It’s essentially a cyberpunk text, “The Matrix” of animated comic book movies, in which Miles has to decide if he will determine his fate or adhere to the stories that have already been written for him.When the animated story of an Afro-Latino superhero, "Spider-Man: Into The Spider-Verse," was released in 2018, few observers expected it to become the hit - to be the hit it became. Drawing from inspirations beyond the comic book world as diverse as Abstract Expressionism, storybook illustrations, ballet and punk, “Across the Spider-Verse” is a stunning blend of artistic traditions with a gleefully disruptive attitude.
Thompson, written by Phil Lord, Christopher Miller and Dave Callaham, contains every element of what made the first one so compelling - not just the characters but the eye-popping production design of Patrick O’Keefe and perfectly calibrated music by Daniel Pemberton - while evolving the aesthetic and story into a darker, edgier place.
The sequel, “Spider-Man: Across the Spider-Verse” directed by Joaquim Dos Santos, Kemp Powers and Justin K. The film also pushed mainstream animation style into something more sophisticated and artful, drawing on the style of traditional comic book illustration and melding it with digital aesthetics and modern art to create a wholly unique piece of work that still managed to center the story of Spider-Man Miles Morales ( Shameik Moore) while self-reflexively satirizing the long and rich lore of the many other Spider-People.
The dazzling Oscar-winning animated feature evolved what a comic book movie could be, both visually and narratively, using the animation medium to create an immersive cinematic experience that felt like jumping into the rapidly flipping pages of a comic book, with an addictively propulsive rhythm that only digital technology could create. It’s an overused and hyperbolic phrase online, but in retrospect, it seems that 2018’s “Spider-Man: Into the Spider-Verse” was a true cultural reset, especially when it comes to comic book movies.
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