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

I do not know how to articulate what my eyes witnessed. Every frame is literally a painting. The first Spider-Verse pushed animation's boundaries; this sequel throws those boundaries away and creates a new standard that studios will try to copy for twenty years.

The blend of art styles is mind-blowing. Gwen's universe is a dripping watercolor painting that changes with her emotions. Spider-Punk is animated like a rebellious London punk zine, constantly shifting frame rate and texture. Miguel O'Hara brings a brutalist, neon aesthetic that makes him feel like a genuine threat. It is sensory overload that somehow always reads clearly.

Beneath the visuals and Daniel Pemberton's soundtrack is a deeply emotional story about canon events and whether suffering is required to be a hero. Miles Morales refusing the destiny laid out for him is one of the most powerful superhero moments on film. I am taking a fraction off because that abrupt cliffhanger had the theater screaming in frustration, but this remains a colossal achievement.