Dazzling ‘Across the Spider-Verse’ occupies ‘Empire Strikes Back’ territory

In the face of superhero fatigue and multiverse burnout, “Spider-Man: Across the Spider-Verse” demonstrates the power of thoughtful storytelling focused on rich, complex characters. The type of story matters less than how that story gets told.

Add a mosaic of enthralling animation styles and propulsive sound design, and “Across the Spider-Verse” has a fighting chance of becoming at least a part of the definitive superhero epic.

I say “chance” because “Across the Spider-Verse” essentially ends its story about Miles Morales, Gwen Stacey and various other Spider-People at the midpoint. Absent from the film’s extensive marketing push, “Across” is the first half of a two-part epic, with “Beyond the Spider-Verse” due to arrive in March 2024.

Not that “Across the Spider-Verse” lacks much in terms of excitement, emotion and plot. As far as middle sections go, the film has only superlative comparison points. Think “The Empire Strikes Back” or “The Two Towers” in terms of delivering kinetic action and meaningful character arcs. Then add a doozy of a cliffhanger like “Avengers: Infinity War” or “Back to the Future Part II” for good measure.

Serving as a direct sequel to 2018’s Oscar-winning “Into the Spider-Verse,” the new film broadens the scope of multiversal adventure while deepening the core themes and character dynamics that enriched that superb first film. Miles Morales (Shameik Moore), the one-and-only Spider-Man of his dimension, is still just a teenager trying to balance school, family and crime-fighting. Mom (Luna Lauren Velez) and Dad (Brian Tyree Henry) worry about their son’s frazzled, distracted demeanor and his growing absence in the neighborhood and at family events. Miles’ dad is also about to become a police captain, an event that soon conjures consequences for both Miles and his superhero alter ego.

Meanwhile, in another dimension, Gwen Stacy (after returning to her universe following the events of the 2018 film) struggles with her own tenure as her world’s Spider-Woman, all while her own police captain father believes Spider-Woman to be a murderous criminal.

It’s the breakdown of that relationship with her father that leads Gwen to the interdimensional Spider-People squad, a team various Spider-People from different dimensions who work to maintain the delicate balance of the multiverse and maintain the Spider “canon.” They’re led by Miguel O’Hara (Oscar Isaac), an intimidating alternate Spidey with vampiric powers and a sadder origin story than even the most traumatized Peter Parkers.

Again, the marketing of “Across the Spider-Verse” promises a zany and kinetic adventure with hundreds of variant Spider-People. Much of that craziness occurs in the back half of the film, allowing directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson and writers Phil Lord, Christopher Miller and David Callaham to carefully build into some of the film’s more complicated ideas. “Across the Spider-Verse” stays grounded for much of the first half, spending quiet moments with Miles, Gwen and their strained home lives. Those moments deepen the relationship between the two once they reconnect, and it establishes clear thematic stakes as Miles and Gwen begin to traverse different Spider-realms.

“Into the Spider-Verse” justifiably earned heavy praise for its unique animation style. “Across the Spider-Verse” delivers again and then some, with the film deploying a distinct visual style in every Spidey-dimension the characters visit. The Spider-People we get to know are also distinct, rich characters, with the dapper, confident Spider-Man India (Pavitr Prabhakar) and the rebellious Spider-Punk (hilariously voiced by Daniel Kaluuya and boasting his own striking animation style) providing the film with a comedic jolt on par with the previous film’s Spider-Ham.

The dazzling animation, whip-fast comedic beats and exhilarating soundtrack combine again for a thrilling theatrical experience, but it’d all be too exhausting without the tight story mechanics at the heart of “Across the Spider-Verse.” This film gives Miles and Gwen an opportunity to question the canons of superhero storytelling (with the Spider-canon becoming the central conflict of the film).

The first film embraced the concept that “anyone could wear the mask.” “Across the Spider-Verse” explores the how’s and why’s of wearing the mask in ways that reach far beyond the “with great power, comes great responsibility” trope.

Technically speaking, “Across the Spider-Verse” is one half of a story. But it’s a masterful half that satisfies well beyond anything else on the big screen so far this year.

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Tyler Wilson can be reached at twilson@cdapress.com.