“Spider-Man: Across the Spider-Verse” is the rare sequel that earns its place alongside the original. It is loud, chaotic, and nearly three hours long, and it still manages to feel leaner and more focused than most films half its runtime. This is a movie about legacy, family, and the burden of being a hero, wrapped in a visual spectacle that feels like nothing else on screen. It is also the funniest superhero movie in years, and it knows exactly how to balance its jokes with its stakes.
The film picks up after the events of “Spider-Man: Into the Spider-Verse,” where Miles Morales (Shameik Moore) defeated Kingpin and saved New York City. Now he is trying to find his footing as the city’s new protector, while grappling with the responsibilities that come with the mantle. The story expands outward, introducing a multiverse full of other Spider-Men and Spider-Women, each with their own origin and their own version of the Peter Parker story. That expansion could have bloated the narrative. Instead, it gives the film room to breathe, and to explore what it means to be a hero in a world where there are infinite versions of you.
Trailer, via Sony Pictures Entertainment.
Miles Morales’ Burden
Miles is the emotional center of the film. He is still figuring out what being Spider-Man means, and the movie spends a lot of time with him. His relationship with his uncle Aaron (Jomo Chan) remains central, and their scenes together carry the weight of the story. Aaron is a loving man who is proud of his nephew but worried about the danger he has brought upon himself. Their conversations about responsibility and legacy feel genuine, and they ground the larger multiversal stakes in something personal.
Moore delivers a performance that matches the animation. He carries the weight of the character, and his voice work is expressive and grounded. The film gives him moments of quiet introspection, and it also gives him action set pieces that are some of the best in the franchise. The sequence where Miles fights a giant robot in the streets of New York is a highlight, and the film’s use of color and motion is stunning.
The Multiverse and Its Heroes
The multiverse is the film’s greatest strength. It introduces characters like Spider-Man 2099 (Jake Johnson), Spider-Gwen (Hailee Steinfeld), and Spider-Ham (John Mulaney), each voiced by a different actor. The film does not just throw these characters at you. It takes the time to establish their personalities, their problems, and their relationships with Miles. That effort pays off, because by the time the final act arrives, you care about all of them.
Johnson plays Spider-Man 2099 as a gruff, weary hero who has seen too much. His scenes with Miles are some of the best in the film, because they are about mentorship and failure. Steinfeld brings a playful energy to Spider-Gwen, and her chemistry with Miles is a joy to watch. Mulaney voices Spider-Ham as a hammy pig who is genuinely kind underneath his jokes. Each character gets a moment to shine, and each moment builds toward the film’s thematic payoff.
The film also introduces a villain named Intrinsic (Lili-Rein Hirsch), who is a threat to the multiverse itself. Her design is menacing, and her presence drives the plot forward. She is not just a punching bag. The film gives her motivations and depth, even though she is ultimately a foil for the heroes. Her scenes are tense, and they raise the stakes in a way that feels earned.
Animation and Visual Style
The animation is the star of the show. The film uses a style that blends hand-drawn and digital techniques, resulting in a look that is both fluid and detailed. The backgrounds are vibrant, the action sequences are dynamic, and the colors pop in a way that few films achieve. The filmmakers clearly love what they are doing, and that enthusiasm is contagious.
The film also experiments with form. There are sequences that use split-screen, multiple perspectives, and abstract visualizations to show the interconnectedness of the multiverse. These sequences are not just flashy. They serve the storytelling, and they make the concept of the multiverse feel tangible. The result is a film that looks unlike anything else in the genre.
The action is a particular highlight. The fight choreography is inventive, and the film uses the multiversal concept to create battles that are constantly shifting. One sequence involves Miles fighting a villain across different timelines, and the editing is so fast that you can barely keep up. It is exhilarating, and it shows a confidence in the medium that is rare.
Comedy and Heart
The film is funny, but it is also deeply sincere. It balances humor with pathos without ever losing its grip on either. The jokes land, and they feel organic to the characters. There is a scene where Spider-Ham tells a joke that is so silly it is almost offensive, and the film leans into it. That willingness to be absurd is part of what makes the film work.
The heart of the film is in its message about legacy. Miles is haunted by the idea that he will never be Peter Parker, and the film explores that fear. It shows that being a hero is not about being someone else. It is about being yourself, and about carrying on the work of those who came before you. The film celebrates individuality while acknowledging the power of tradition.
The film also touches on the idea of failure. It shows that even the best heroes make mistakes, and that those mistakes can shape who they are. The film does not shy away from the difficult parts of being a hero. It shows the loneliness, the fear, and the exhaustion. That honesty makes the triumphs feel earned.
Soundtrack and Technical Craft
The voice cast is uniformly excellent. Moore anchors the film, but everyone around him is strong. Johnson is charismatic as Spider-Man 2099, and his delivery of his catchphrase is a highlight. Steinfeld brings a warmth to Spider-Gwen that is infectious, and Mulaney’s deadpan is perfectly timed. Hirsch is menacing without being cartoonish, and her performance adds tension to the film’s quieter moments.
The music is a mix of hip-hop, rock, and electronic. The score is composed by Daniel Pemberton, and it is a driving force behind the film’s energy. The songs are performed by various artists, and they are woven into the narrative in a way that feels natural. The film uses music to underscore emotion, and it uses silence to create tension. The result is a sonic landscape that complements the visual one.
The technical craft is impeccable. The sound design is sharp, and the dialogue is clear. The film is edited with precision, and the pacing holds up across its nearly three-hour runtime. The film respects its audience’s intelligence, and it trusts them to follow complex threads. That trust is rewarded.
The film is also ambitious in its scope. It tells a story that spans multiple timelines and multiple universes, and it does so without losing its focus. The film knows what it wants to say, and it says it clearly. The themes are big, but the execution is tight.
The film also acknowledges the history of the franchise. It references previous Spider-Man stories, and it honors the characters that came before. That acknowledgment gives the film a sense of continuity, and it makes the new material feel like part of a larger tapestry.
Where It Falls Short
No film is perfect, and “Spider-Man: Across the Spider-Verse” has a few weaknesses. Some of the supporting characters are underdeveloped, and their arcs feel rushed. The film is so packed with ideas that some of them get short shrift. The pacing in the middle section is uneven, and there are stretches where the story drags.
The film also leans on exposition at times. The multiverse concept is explained in detail, and some of the explanations feel like they are talking down to the audience. The film trusts its audience to understand, but it also explains things that might have been better left unspoken. That tension between trust and explanation is a small flaw, but it is noticeable.
The film’s runtime is also a challenge. Nearly three hours is a long sit, and the film does not always justify that length. Some sequences feel padded, and some scenes could be cut without losing anything. The film is confident, but it could have been tighter.
Final Word
“Spider-Man: Across the Spider-Verse” is a triumph. It is a bold, beautiful, and emotionally resonant film that pushes the boundaries of what animated storytelling can do. It is funny, heartfelt, and visually stunning. It is a film that rewards attention, and it is a film that will be remembered for years to come.
The film’s success is a credit to everyone involved. From the writers to the animators to the voice actors, everyone worked together to create something special. The result is a film that is greater than the sum of its parts.
The film is not perfect, but it is close. It is a film that earns its place in the canon of great superhero movies, and it is a film that will be studied for years to come. It is a film that celebrates individuality while acknowledging the power of tradition. It is a film that is both fun and meaningful.
Key Facts Box
- Title: Spider-Man: Across the Spider-Verse
- Runtime: Nearly 3 hours
- Score: 8.6/10
- Voice Cast: Shameik Moore, Jake Johnson, Hailee Steinfeld, John Mulaney, Lili-Rein Hirsch
Schedule Table
| Character | Voice Actor |
|---|---|
| Miles Morales | Shameik Moore |
| Spider-Man 2099 | Jake Johnson |
| Spider-Gwen | Hailee Steinfeld |
| Spider-Ham | John Mulaney |
| Intrinsic | Lili-Rein Hirsch |
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