*Note: I guess this post was removed for a DMCA complaint? While Blogger removed the post and sent me a message about it, they very helpfully did not tell me what the complaint was for. The only thing I can think of was the image I picked to accompany the review, so I found a different one.*
*And another note: Blogger removed this post again for an apparent DMCA complaint, and again I don't know why. I'll try republishing with no accompanying image this time, though I don't get why this post keeps getting flagged.)
*Premise spoilers.*
I couldn’t see the middle installment of the Spider-Verse trilogy until now, and what. A. Ride! Bigger and bolder than its predecessor but also a bit overstuffed, this is an exciting, emotional movie experience that leaves me anxious for the third chapter, coming out next spring.
Miles Morales, still doing his best to balance being a teenager and being Spider-Man, is thrilled when Gwen Stacy is able to visit him from her own universe. But despite webslinging together and opening up about some of the difficulties in their personal lives, this wasn’t supposed to be a social call. Gwen has joined up with an elite team of Spider-Folks investigating multiversal anomalies, and those in charge don’t want her bringing Miles into it. But when she leaves his universe and the portal she used is still open, what’s a Spider-Man to do?
It's hardly a hot take to discuss the Spider-Verse franchise and gush about the animation, but my god, the animation! If anything, this film is even more ambitious than the first in playing with a multitude of art styles. From the sharp-angled outlines giving Hobie Brown (a.k.a. Spider-Punk) a zine look to the way the lighting and colors shift with the emotional throughline of Gwen’s story, every scene is a feast for the eyes. What’s more, the character designs on the various Spider-Folks are endlessly eye-catching. I already loved Miles and Gwen’s respective suits in the first first, but now we’re adding fantastic suits for the likes of the anarchistic Hobie, the joyous Pavitr Prahabkar, and the intense Miguel O’Hara (a.k.a. Spider-Man 2099.)
The story, while still very good, is slightly less of a slam dunk for me. As I said, it can be a bit overstuffed, and even though every cameo and easter egg is a blast, the main plot goes a little too big for my tastes. Sometimes when a character becomes too important in the narrative, it paradoxically makes their story seem smaller. I’m not sure I buy everywhere the story takes us, but the big emotions hit home in a major way, especially for Miles and Gwen, the latter of whom takes more of a co-lead role in this film. Both are wrestling with that classic Spider-Person dilemma of trying to keep everyone safe while inadvertently leaving their personal lives a wreck. Although both have developed friendships with other multiversal Spider-Folks during their encounters, there’s something very particular about the bond the two of them share, and they both go through it in this movie. Shameik Moore and Hailee Steinfeld both knock it out of the park with their performances.
The rest of the cast is splendid, everyone adding to the world(s) of the film no matter how small their screentime. Daniel Kaluuya, playing Hobie, effortlessly steals every scene he’s in, and Karan Soni is a delight as Pavitr. Oscar Isaac brings gravity to his performance as Miguel, who’s leading the rest Spider-Folks with laser focus on the ultimate task at hand. I was hoping to get more of Issa Rae’s Jessica Drew (a.k.a. Spider-Woman,) so her relatively small role is a bit of a bummer, but Jason Schwartzman is great as Miles’ “nemesis” the Spot. Among the returning cast, Jake Johnson is fun but a little underused as Peter B. Parker and Brian Tyree Henry continues his solid work as Miles’ dad, while Luna Lauren Velez gets more of a spotlight this time around as Miles’ mom. In addition to all these good folks, there are a number of entertaining cameos.
Warnings
Comic book violence, scary moments for kids, and thematic elements.
No comments:
Post a Comment