Review: "Spider-Man: Across the Spider-Verse" belongs in a museum

When Into the Spider-Verse was released in 2018, it completely shattered the industry's understanding of what western animation could achieve, single-handedly ending the monopoly of the Pixar house style. Following up on a movie that fundamentally changed the medium felt like an impossible task, yet Across the Spider-Verse not only meets those towering expectations—it completely eclipses them. The directors have essentially weaponized art history, mashing together Renaissance sketch work, 70s punk-rock zine aesthetics, and watercolor mood pieces into a cohesive, sensory-overload experience that genuinely belongs in a modern art museum.

The narrative wisely shifts a massive portion of its emotional weight onto Gwen Stacy. Her universe, Earth-65, is rendered entirely in dripping, expressive watercolors that change hues based on her emotional state. It is a stunning visual metaphor for teenage isolation and the struggle for parental acceptance. Meanwhile, Miles Morales is forced to grapple with the terrifying concept of "canon events"—predetermined tragedies that supposedly hold the multiverse together. This introduces Miguel O'Hara (Spider-Man 2099), who isn't a villain in the traditional sense, but an utterly traumatized utilitarian antagonist whose logic is as terrifyingly sound as his physical presence is imposing.

If there is any legitimate criticism to be leveled at the film, it is the pacing of its final act. The movie doesn't just end on a cliffhanger; it hits a brick wall right as the narrative reaches its absolute boiling point. It feels less like a complete movie and more like the first half of a five-hour epic. While the agonizing wait for Beyond the Spider-Verse makes this sudden stop incredibly frustrating, the sheer density of the storytelling, the unbelievable soundtrack by Daniel Pemberton, and the groundbreaking animation make it a modern cinematic triumph.