Issa Rae brings an affable tough-love vibe to her pregnant, kinky-haired, motorcycle-riding Spider-Woman Jessica Drew.
That’s not even counting the work of the impressive voice cast. And the way they move - Pavitr’s fluid web-slinging, Spider-Punk’s stomps and thrashing and Gwen’s graceful acrobatics and en pointe landings - express as much about the characters as the buoyant dialogue and highly stylized character designs. Spider-Punk (Daniel Kaluuya), a contrarian cool-guy rocker with combat boots, piercings and a devil-may-care attitude, is drawn in the wild 2-D-collage style of album covers, concert fliers and zines from the ’80s London punk scene. Spider-Man India, is designed with nods to contemporary Indian fashion. The eye-catching action sequences among the Spider-folk serve the delectable chaos of a meme ( yes, that pointing meme) exploded in a big-screen format.Įach Spidey we encounter, even briefly, is fully realized, and a welcome addition to the story, even for those who might not pick up on the deep-cut references to the ’80s and ’90s comics. The Spider Society, with its delightfully bizarre potpourri of spider-entities (i.e., a Spider-Cowboy, Spider-Cat, Spider-Baby and Spider-Dinosaur), offers many opportunities for the movie to show off a compelling blend of visual gags, palettes and animation styles. That includes its inclusion of clips and cameos from former animated and live-action Spider-Man media, which nicely cohere with the rest of the film. In other words, “Across the Spider-Verse” pulls off a “ Spider-Man: No Way Home,” the Tom Holland vehicle that also played with alternate versions of Spider-Man, better than “No Way Home” did. “Spider-Verse” achieves the challenging task of building a sequel that not only replicates the charms of the first film but also expands the multiverse concept, the main characters and the stakes, without overinflating the premise or shamelessly capitalizing on fan service.
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