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Spider-Man: Across the Spider-Verse

2023, Kids & family/Action, 2h 20m

What to know

Critics Consensus

Just as visually dazzling and action-packed as its predecessor, Spider-Man: Across the Spider-Verse thrills from start to cliffhanger conclusion. Read critic reviews

Audience Says

From incredible animation to a super story and tons of Easter eggs, Spider-Man: Across the Spider-Verse has everything fans could ask for. Read audience reviews

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Spider-man: across the spider-verse videos, spider-man: across the spider-verse   photos.

Miles Morales returns for the next chapter of the Oscar®-winning Spider-Verse saga, an epic adventure that will transport Brooklyn's full-time, friendly neighborhood Spider-Man across the Multiverse to join forces with Gwen Stacy and a new team of Spider-People to face off with a villain more powerful than anything they have ever encountered.

Rating: PG (Some Language|Animated Action Violence|Thematic Elements)

Genre: Kids & family, Action, Adventure, Comedy, Fantasy, Animation

Original Language: English

Director: Joaquim Dos Santos , Kemp Powers , Justin K. Thompson

Producer: Chris Miller , Phil Lord , Amy Pascal , Avi Arad , Christina Steinberg

Writer: Phil Lord , Chris Miller , David Callaham

Release Date (Theaters): Jun 2, 2023  wide

Release Date (Streaming): Aug 8, 2023

Box Office (Gross USA): $381.2M

Runtime: 2h 20m

Distributor: Sony Pictures

Production Co: Sony Pictures Entertainment (SPE), Lord Miller, Sony Pictures Animation, Arad Productions, Marvel Entertainment, Pascal Pictures

Sound Mix: Dolby Digital, SDDS, Dolby Atmos

Aspect Ratio: Digital 2.39:1

Cast & Crew

Shameik Moore

Miles Morales Voice

Hailee Steinfeld

Gwen Stacey Voice

Oscar Isaac

Miguel O'Hara Voice

Jake Johnson

Peter B. Parker Voice

Jessica Drew Voice

Daniel Kaluuya

Hobart "Hobie" Brown, Spider-Punk Voice

Jason Schwartzman

Jonathan Ohnn, The Spot Voice

Brian Tyree Henry

Jefferson Davis Voice

Luna Lauren Velez

Rio Morales Voice

Rachel Dratch

Principal Voice

Jorma Taccone

Adrian Toomes, The Vulture Voice

Shea Whigham

George Stacy Voice

Joaquim Dos Santos

Kemp Powers

Justin K. Thompson

Screenwriter

Chris Miller

David Callaham

Christina Steinberg

Bob Persichetti

Executive Producer

Peter Ramsey

Rodney Rothman

Aditya Sood

Rebecca Karch

Brian Michael Bendis

Daniel Pemberton

Original Music

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My esteemed colleague Christy Lemire opened her review of “ Spider-Man: Into the Spider-Verse ” with a quote from her nine-year-old asking if he could see it again, so I think there’s some synergy in quoting my nine-year-old to open this one: “That might be the best movie I’ve ever seen.”

“Spider-Man: Across the Spider-Verse” explodes onto screens this week, building on the foundation of the masterful “Spider-Man: Into the Spider-Verse” with stunning animation, unforgettable characters, and complex themes. The first note I took after seeing it was “so much movie.” Like the work of a young artist who refuses to be restrained by the borders of the frame, “Across the Spider-Verse” is loaded with incredible imagery and fascinating ideas. It is a smart, thrilling piece of work that reminded me of other great part twos like “ The Dark Knight ” and “ The Empire Strikes Back .” Like those films, it leaves viewers anxiously anticipating the next chapter (which will come in March 2024), and it earns its cliffhangers by grounding them in a story of young people refusing to submit to a concept of what a hero’s arc needs to be.

“Across the Spider-Verse” opens just over a year after the action of the first movie. Gwen Stacy ( Hailee Steinfeld ) is back in her universe, trying to keep her identity secret from her father, George ( Shea Whigham ). When an alternate version of the villainous Vulture ( Jorma Taccone ) drops into her reality, the bad guy ends up trailed by the intense Spider-Man 2099 ( Oscar Isaac ) and confident Spider-Woman ( Issa Rae ). They reveal to Gwen that they’re part of a secret Spider-Society that has been cleaning up inter-universe messes, capturing villains who end up in the wrong one and sending them home again. When Gwen’s identity is blown with her dad, she joins the Spider-Crew, correcting the errors of multi-verse.

Of course, fans will remember that Miles Morales ( Shameik Moore ) is essentially one of those errors. The Peter Parker of his universe died trying to save him, and the spider that bit Miles was never supposed to be there. But it was. So now what? This story's backbone is about pushing back against determinism and moving forward with what's in front of you. Superhero culture has used multiverse stories to expand on the concept of potential, but this film (and I hope these themes really land in its sequel) suggests that it’s way more important to hold onto the reality in your hands than imagine all of the other ones that might have been. It’s about controlling your own fate more than giving into a scripted narrative of heroism. More than most superhero movies, it’s about empowerment instead of destiny. And that’s powerful stuff.

Back to Miles. He’s in his version of Brooklyn, trying to balance being a good student with being a friendly neighborhood Spider-Man. He’s considering telling his mother, Rio (Luna Lauren Vélez ), and father, Jefferson ( Brian Tyree Henry ), the truth, but worries what it could do to their relationship if he does. One day, an odd duck that Miles thinks is just a “villain of the week” pops up in the form of The Spot ( Jason Schwartzman ). Formerly known as Dr. Jonathan Ohnn, the once-Alchemax-employee was forever altered by the first movie's action, able to control time and space through a series of portals. At first, it’s kind of cute how he tries to steal an ATM with a portal, but The Spot ends up being significantly more dangerous as his powers grow, opening passages that can destroy worlds.

Naturally, the emergence of The Spot gets the attention of the Spider-Society, which sends Gwen and company back into the life of Miles Morales. The first sequence of their reunion is an absolute marvel as the two characters swoop and swing through the city, flirting their way through the sky. It culminates with a series of shots high above the city as the pair sits upside down, the skyline inverted behind them. It’s a quiet sequence in a movie that’s often very loud and a reminder of the film’s stunning visual confidence, just as striking in its calm as its noise.

If the first film interrogated who gets to be a hero, the second film takes that further to ask how heroism is defined. Why does every hero’s arc have to be the same? Why does so much superhero mythology lean into the idea that it is only through tragedy that heroism can be born? In an era when superhero movies have taken over the culture, writers Phil Lord , Christopher Miller , & David Callahan use animation's freedom to unpack the structure of a world they know and love. It's a script that earns every one of its 140 minutes, almost overwhelming in its abundance of ideas. (To be fair, my youngest also turned to me at one point and said, “I have no idea what’s going on.” He said it with a smile.)

Of course, most will remember its imagery more than its ideas. Directors Joaquim Dos Santos , Kemp Powers , and Justin K. Thompson build on the first movie's aesthetics with one of the most strikingly conceived and executed animated films ever made. From the very beginning, the animators are using their form to do things that would never be possible in the MCU, and the art of “Across the Spider-Verse” feels even more self-assured than the first film. It’s not just that every action sequence would cost half a billion dollars in a live-action film. It’s that this freedom has been employed artistically and cohesively instead of just extravagantly. Even in a film where characters defy time and space with every leap and dive, the choreography of the action is easier to follow than some of the Hollywood blockbusters released already this season. There’s a true craftsmanship to the action that’s breathtaking, especially in a late sequence when Miles breaks free from what the canon says he has to be.

It helps greatly that the entire cast here brings their vocal A-game. There are so many celebrity voices here—including a number of cameos only villains would spoil—but I want to give some praise to Shameik Moore, who finds the perfect register for the odd intersection of youth, manhood, and heroism in which Miles finds himself. It’s a vocal performance with just the right blend of curiosity, vulnerability, and growing confidence. Steinfeld, Henry, Rae, Jake Johnson , Schwartzman, Velez, Daniel Kaluuya , Isaac—there’s no weak link. Everyone was clearly inspired by the creative potential of this script. 

Mediocre sequels repeat what came before, knowing that fans will return for more of the same. Great sequels build on what came before, enriching themes and setting the table for what’s to come. I wish that we weren’t seemingly in a blockbuster era of non-endings, but I feel like “Across the Spider-Verse” earns its open conclusion. It’s not just a way to guarantee that ticket buyers return. It’s not a threat to finish an incomplete story. It’s a promise to continue one that’s already so rewarding.

In theaters tomorrow, June 1st.

Brian Tallerico

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film Credits

Spider-Man: Across the Spider-Verse movie poster

Spider-Man: Across the Spider-Verse (2023)

Rated PG for sequences of animated action violence, some language and thematic elements.

140 minutes

Shameik Moore as Miles Morales / Spider-Man (voice)

Hailee Steinfeld as Gwen Stacy / Spider-Woman (voice)

Jake Johnson as Peter B. Parker / Spider-Man (voice)

Oscar Isaac as Miguel O'Hara / Spider-Man 2099 (voice)

Issa Rae as Jessica Drew / Spider-Woman (voice)

Daniel Kaluuya as Hobart 'Hobie' Brown / Spider-Punk (voice)

Jason Schwartzman as Jonathan Ohnn / The Spot (voice)

Brian Tyree Henry as Jefferson Davis (voice)

Luna Lauren Velez as Rio Morales (voice)

Greta Lee as Lyla (voice)

Rachel Dratch as Principal (voice)

Jorma Taccone as Adrian Toomes / The Vulture (voice)

Shea Whigham as George Stacy (voice)

Andy Samberg as Ben Reilly / Scarlet Spider (voice)

  • Joaquim Dos Santos
  • Justin K. Thompson
  • Kemp Powers

Writer (characters)

  • Christopher Miller
  • Dave Callaham
  • Mike Andrews
  • Daniel Pemberton

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Spider-Man: Across the Spider-Verse.

Spider-Man: Across the Spider-Verse review – a dizzying, dazzling sequel

The first Miles Morales animation was a sensation, but this second film, with fresh characters, writers and energy, goes above and beyond

I s it possible to equal a film as boundlessly inventive, stylistically bold and effortlessly cool as Spider-Man: Into the Spider-Verse ? Could a sequel ever match that film’s freshness, energy and visual verve? The answer, it seems, is an emphatic yes. Spider-Man: Across the Spider-Verse is sublime. There’s not a frame of this rich, kaleidoscopically detailed animation that isn’t dazzling. It takes the basic themes of the first film – adolescent isolation, communication breakdown, the messy, stressful business of growing, of finding your people – and builds whole worlds with them. It’s a dizzying onslaught of ideas and graphic references. It has heart. It even has a font gag.

In the film-making team and in the story there’s a pleasing combination of original talent and fresh blood. Phil Lord and Christopher Miller return as writers and producers, but there’s a new directing team that includes Kemp Powers (Pixar’s Soul ). Once again, the story focuses on the bond between fellow Spider-people Miles Morales (Shameik Moore) and Gwen Stacy (Hailee Steinfeld). But there is a host of new characters, each with their own distinctive look, including Hobie (Daniel Kaluuya), a spider-punk anarchist, drawn with a graphic style that borrows from Jamie Reid’s Sex Pistols aesthetic and Jamie Hewlett’s Gorillaz.

It’s densely plotted, almost overwhelming at times; Daniel Pemberton’s score is an Escher staircase of anxiety. But the soul of the film lies in the tiny human details: like the way Miles, about to gain access to an inner Spider-circle, bounces lightly on his toes – still, at heart, an excited kid waiting for a treat.

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‘Spider-Man: Across the Spider-Verse’ Review: Worlds Wide Web

This charming sequel to the 2018 animated movie expands the multiverse concept, without shamelessly capitalizing on fan service.

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An animated scene of the character Mile Morales, as Spider-Man, shooting a web from his hand.

By Maya Phillips

Question: How many Spider-Men does it take to make a successful multiverse sequel?

I’m not certain, but it might be the countless number of Spideys that appear in the delightful “Spider-Man: Across the Spider-Verse.”

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A follow-up to the appropriately lauded “ Spider-Man: Into the Spider-Verse ,” this animated movie takes place a year after the Brooklyn teen and newly minted Spider-Man, Miles Morales (voiced again by Shameik Moore), was bitten by a radioactive spider. In “Into the Spider-Verse,” from 2018, Miles learned how to be his city’s friendly neighborhood Spider-Man with the help of five other Spider-heroes — all different Spidey incarnations transported from their original universes after a super collider explosion tore through the multiverse. Now Miles is 15, and though he has a handle on his powers, he’s struggling to balance academics with his extracurricular hero work, on top of the usual adolescent woes.

As Miles’s parents get increasingly suspicious about their son’s double life, he has to fend off the pesky villain Spot (Jason Schwartzman, as the perfect goober), who powers up into a “transdimensional super-being” who poses a real threat to the multiverse.

In her separate universe Gwen Stacy (Hailee Steinfeld), a.k.a. Spider-Woman, Miles’s pal and quasi-romantic interest from the first film, joins a task force of multiverse-jumping heroes called the Spider Society. They chase anomalies stuck in the wrong world in missions led by the brooding Spider-Man 2099, Miguel O’Hara (Oscar Isaac). But once Gwen and Miles reunite, and Miles discovers the Spider Society, he finds out he might actually be the real threat to the Spider-Verse.

“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. 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. 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.

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. 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.

Each 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. Pavitr Prabhakar (Karan Soni), a.k.a. Spider-Man India, is designed with nods to contemporary Indian fashion. 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. 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.

That’s not even counting the work of the impressive voice cast. Issa Rae brings an affable tough-love vibe to her pregnant, kinky-haired, motorcycle-riding Spider-Woman Jessica Drew. And Isaac, who brings as an exacting a performance as he did in the Disney+ series “Moon Knight,” is well-cast as the slightly unhinged and self-serious Spider-Man, à la the Dark Knight.

Steinfeld’s Gwen, a fan fave, thankfully gets more spotlight in this film, which delves deeper into her tragic back story and her feelings of displacement in her world, particularly in her own home. She gets a driving pop-punk theme — part of a killer soundtrack raging with rock, hip-hop and reggaeton — and a stunning color-streaked aesthetic, with soft pinks and lavenders and heavy brushstrokes, creating an almost immersive comic book experience.

The directing team, Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, builds a beautifully realistic, multicultural New York through details: a wheelchair basketball game in full swing on a nearby court, or a shelf of beef patties displayed in a Jamaican bodega.

Both “Spider-Verse” films, in what will be a trilogy, create dimension in these kinds of details, and I don’t just mean the animation. (Though, to be fair, the infinite reach of the city skyline, as viewed upside down from Gwen and Miles’s purview , is a satisfying visual callback to the first film and its own illustrative feat.) The dimension is in the thrust of the story itself.

This isn’t just another multiverse slogfest but a bildungsroman. Because what else is adolescence but a confrontation with the various possibilities in life, the infinite selves you can be? It’s about figuring out one’s identity — superhero or otherwise — and finding a place to belong. The fact that Miles and Gwen also shoot webs and swing around skyscrapers is incidental to their emotional arcs in the film.

“Spider-Verse” also asks intriguing questions about the limitations of the canon, and whether tragedy is a prerequisite for a Spider-Man origin story — the death of an Uncle Ben or Aunt May or Uncle Aaron. And whether trauma completely defines these heroes — and, if so, if they can find kinship in that.

The most disappointing part of “Spider-Verse” is the merciless cliffhanger of an ending, ushering the film into a tradition of two-parters with too much story and too little time to tell it. But “Across the Spider-Verse” is never dull, nor precious with its characters and comedy. Which I suppose just proves that when it comes to a Spidey census, two’s a team, three’s a party and hundreds is a multiverse crawling with opportunities.

Spider-Man: Across the Spider-Verse Rated PG. Running time: 2 hours 20 minutes. In theaters.

Audio produced by Tally Abecassis .

Maya Phillips is a critic at large. She is the author of “NERD: Adventures in Fandom From This Universe to the Multiverse” and the poetry collection “Erou.” More about Maya Phillips

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‘Spider-Man: Across the Spider-Verse’ review: Miles Morales, Gwen Stacy impress once again

Movie review.

“Spider-Man: Across the Spider-Verse” is a hodgepodge … with a purpose.

The picture comes at you at light speed with so much information jampacked into every frame — visual, audio, emotional — that it needs to be seen more than once. Repeat viewings are practically mandatory to allow one to focus in on details and dimensions that fleetingly register in the audience’s consciousness and then are gone — Zip! — and it’s on to the next thing.

The movie is a rich, rewarding adventure. It picks up where 2018’s animated “Spider-Man: Into the Spider-Verse” left off, being the further adventures of Miles Morales (voiced by Shameik Moore), a Spider-Man with a multicultural twist: Black father, Puerto Rican mother, a Brooklyn-born teen in transition to manhood. 

But wait a sec. This latest chapter in the Spidey saga is more than a movie merely about the title character. For the first 15 minutes or so, he’s not even in it. It’s Gwen Stacy (voiced by Hailee Steinfeld) who is front and center at the start. She comes equipped with a full complement of Spider powers, web-slinging, super strength and all that, and a heaping helping of teen angst. One of her talents is rock band drummer and she uses her drumsticks to pound out her jangled feelings.

She’s Spidey’s equal in every regard, which gives this picture a depth and dimension beyond what’s there in the first movie. Miles is her best friend and the only person who truly shares her feelings of being an outsider, hiding a secret identity from one’s loving parents (her dad is a cop like Miles’ pop) and in essence living a lie and being tormented by that secret.

The first “Spider-Verse” movie was primarily a celebration of the joy Miles felt zipping and swooping through Manhattan skyscrapers on spider-silk strands. In this one, he’s matured and is feeling the burdens of his superpowered responsibilities to go out into the world and save people in distress. The same goes for Gwen. They’re the only ones each can confide in. 

Uh, about that world-saving. Make that  worlds . The Spider-Verse of the title is a near-infinity of alternate realities into which the picture plunges with controlled abandon. Thanks to a staggeringly inventive screenplay credited to Phil Lord, Christopher Miller and David Callaham and agile direction by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, the movie becomes an immersive experience that sweeps the audience into all-encompassing venues of imagination. 

The visuals reference actual Marvel comic book covers and acknowledge those covers on-screen. Comic book color schemes share space within scenes with such headlong fluidity that the eye can barely keep up. 

A muscled baleful Spider person voiced by Oscar Isaac is present to impress on Gwen and Miles that being a superhero often involves hard choices as to who to save — and who you can’t.

Though the takes on these characters are more in-depth, there’s plenty of humor in the movie, sometimes popping up in asides and joke lines that sometimes are put into comic-style boxes that flash on screen and then vanish. Those moments alone justify a second viewing.

A villain called Spot is funny at first as he falls into and through black holes in his body that leads Miles on a complicated fight-and-flight though his interdimensional empty spaces. 

At the end comes an ending so unexpected it’s actually shocking. It sets up a sequel that can’t arrive soon enough. 

Featuring the voices of Shameik Moore, Hailee Steinfeld, Brian Tyree Henry, Luna Lauren Velez, Jake Johnson, Jason Schwartzman, Issa Rae, Karan Soni, Daniel Kaluuya, Oscar Isaac. Directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson from a screenplay by Phil Lord, Christopher Miller and David Callaham. 140 minutes. Rated PG for sequences of animated action violence, some language and thematic elements. Opens June 1 at multiple theaters.

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‘Spider-Man: Across the Spider-Verse’ Review: This May Be the Greatest Superhero Movie Series Yet

'Across the Spider-Verse' isn't just one of the best films of 2023, it also cements Miles Morales as one of the all-time great movie superheroes.

“Let’s do things differently this time,” Gwen Stacy (voiced by Hailee Steinfeld ) says in the opening moments of Spider-Man: Across the Spider-Verse . That seems to be the mantra of the Spider-Verse series, which began with 2018’s Spider-Man: Into the Spider-Verse , a film that combated the audience’s exhaustion with Spider-Man movies and Spider-Men by… introducing more Spider-Characters than ever. Into the Spider-Verse was a breath of fresh air for Spider-Man films, one that introduced the world to the multiverse and earned an Oscar for Best Animated Feature. After Tobey Maguire and Andrew Garfield ’s Peter Parkers, it was Miles Morales ( Shameik Moore ) who showed us just how vibrant and full of possibilities Spider-Man could still be.

Five years later, we return to the Spider-Verse and Miles Morales again. And while the stakes have never been higher for Miles, the same is true of this series, which has the task of trying to follow up what many consider to be one of the best animated films in recent history, one of the best superhero films ever, and a film that already seems to have influenced entertainment in major ways, from the style of films and TV like Puss in Boots: The Last Wish and Ms. Marvel , to showing the potential of this hero that Spider-Man: No Way Home followed up on. Into the Spider-Verse is a modern-day classic, and yet, Across the Spider-Verse somehow manages to equal—if not improve—upon this incredible world. With even more striking animation, a more powerful connection to its characters and their relationships, it is one of the most engaging, exciting, and jaw-dropping films to come out in years. By the end of Across the Spider-Verse , the question of who is the best cinematic Spider-Man has been answered: it’s Miles Morales. But not only that, this very well might be the best superhero movie series so far.

'Across the Spider-Verse' Is a Web of Possibilities

Across the Spider-Verse takes place a little over a year after the events of Into the Spider-Verse . Gwen has left her own universe to join a group of other Spider-People who are traversing other universes in order to close the tears created by the collider in Into the Spider-Verse that are still causing anomalies. Meanwhile, in his own universe, Miles Morales has grown into his newfound abilities quite well but, as is the case with all Spider-Men, is having trouble balancing the life of his alter-ego and his real life, which also keeps his mother Rio ( Luna Lauren Vélez ) and father Jefferson Davis ( Brian Tyree Henry ) at a distance. Miles also misses his Spider-Friends—especially Gwen—who haven’t visited him since their last adventure. Making things even more difficult for Miles is the new villain The Spot ( Jason Schwartzman ), who claims to be Miles’ nemesis, and has discovered how to explore other universes through his holes (His power is holes he can use as portals. C’mon, grow up).

RELATED: 'Spider-Man: Across the Spider-Verse' Director Clarifies the Movie's MCU Connection

But once Gwen does visit Miles, he learns that there’s an entire Spider-Society, led by Miguel O’Hara/Spider-Man 2099 ( Oscar Isaac ), who are trying to keep the multiverses as they should be—including trying to stop The Spot. Miguel has seen what happens when events don’t go as they should, and dedicates himself to making sure the Spider-Verse is as it should be. But when Miles discovers what that means for him and his existence as a hero, he could be going against the very core tenants of what makes a Spider-Man.

With great multiverse-exploring abilities comes a great amount of new characters, such as Spider-Woman ( Issa Rae ), who assists Miguel and the Spider-Society in their attempt to fix the multiverses; Pavitr Prabhakar ( Karan Soni ), the Spider-Man of Mumbattan—a combination Mumbai/Manhattan; Spider-Punk ( Daniel Kaluuya ), who uses his guitar in fights and doesn’t follow authority; and plenty more Spider-People than you could count. Yet despite just how much Across the Spider-Verse is throwing at the audience (and it is a lot ), directors Joaquim Dos Santos , Kemp Powers , and Justin K. Thompson , as well as writers Phil Lord , Christopher Miller , and David Callaham , somehow are able to balance all of these new characters and opportunities in a way that is never overwhelming. They've made a world that is always compelling to get lost in.

'Across the Spider-Verse' Blends Styles and Tones With Ease

In addition to this impressive balance of characters is the unbelievable amount of worlds that Across the Spider-Verse throws the audience into, each with its own animation style and tone, all of which could likely maintain their own standalone film. The possibilities here are literally endless, as we see worlds like the futuristic Spider-Man 2099 universe, a world that looks even more like a comic book, and even a Lego world, just to name a few. Each universe is captivating in its own way, and the way Across the Spider-Verse seamlessly intertwines all these inventive concepts together in a way that makes narrative sense is appallingly brilliant.

Even better is how these unique characters and gorgeous worlds play with each other. In the intro which focuses on Gwen Stacy, we see her world is full of pastel colors, with pinks and purples and neons that pop. She is faced with a version of the Vulture from another multiverse that is Renaissance-themed, and the villain seems to be made of paper. Or as The Spot gets stronger, his black-and-white look gets rougher and rawer, cutting through the stunning environments that he finds himself in. It’s fascinating to watch how these two styles play with each other, and the film constantly is mashing up techniques in this way, whether with a quartet of Spider-People from different realities, or literally hundreds in an action sequence.

But these unique art techniques aren’t just the directors and animators flexing on audiences—although each shot could be printed and framed on a wall—it also helps explore the story in extraordinary ways. In one scene, Gwen has an emotional conversation with her father George Stacy ( Shea Whigham ), and as the two talk, the world around them shifts and changes. The style is borderline impressionistic, and as their tones change and realizations come to life, the color drains from this world and returns as the conversation ebbs and flows. Yet this approach isn’t distracting. Rather, it feels like the narrative informing the art and world around them, giving us a deeper insight into how they’re feeling—similar to how comics use thought bubbles to explore internal emotions. Across the Spider-Verse is full of ingenious touches like this, and the care and love for this story are truly felt in every frame.

'Across the Spider-Verse' Builds On and Improves Upon 'Into the Spider-Verse'

Across the Spider-Verse , however, is certainly not all style and no substance, as Lord, Miller, and Callaham have crafted a story that ups the ante on all of Miles Morales’ problems. His relationship with his family is more fractured and complicated, now that he’s accepted the responsibilities of Spider-Man, yet he’s still trying to figure out how to approach this mantle that he’s been given. He misses his friends, and feels left out in a community that existed without his knowledge. And he’s worried that the people he loves the most are going to be hurt simply because of who he is. While Into the Spider-Verse ended with Miles stating that anyone could wear the mask, Across the Spider-Verse complicates that, asking if that could be true, and even confronting in a very meta way what it even means to be a Spider-Man at its essence. Across the Spider-Verse manages to make this last question a major struggle that Miles has to explore, but the film also has a lot of fun diving into our collective knowledge of the Spider-Man canon and tossing in major Easter eggs and incredible jokes for the casual and die-hard Spider-Man fans to catch.

Considering how Into the Spider-Verse felt like a shot of adrenaline into Spider-Man, it seemed almost impossible that Across the Spider-Verse could live up to the lofty expectations that this follow-up inherently had. Yet, somehow, Across the Spider-Verse cranks everything Into the Spider-Verse did well up to 11, making this another refreshing jolt to this character and superhero films in general. Across the Spider-Verse isn't just easily one of the best films of 2023 and one of the best animated films in years, it's also in the running for best superhero film ever, and arguably cements Miles Morales as the best Spider-Man we've seen on the screen so far. Across the Spider-Verse is ambitious and remarkable to a point that it almost feels like a miracle this movie even exists—thankfully, we live in the universe where it does.

Spider-Man: Into the Spider-Verse comes to theaters on June 2.

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‘Spider-Man: Across the Spider-Verse’ Review: New Heights for Spider-Man

Dirs. joaquim dos santos, kemp powers, justin k. thompson - 4.5 stars.

Miles Morales (Shameik Moore) stars as the lead Spider-Person in "Spider-Man: Across the Spider-Verse"

Rendered in every style imaginable, anchored by a fantastic soundtrack, and layered with nuance, Sony’s newest animated Spider-Man project, “Spider-Man: Across the Spider-Verse,” climbs to heights that surpass its predecessor. Maintaining the strengths of the original film while crafting new arcs for the movie’s focal characters makes pulling off a successful sequel a steep challenge. Fortunately for Spider-Man fans, “Across the Spider-Verse” succeeds, coloring in Miles Morales’s world with more mature themes and characters while doubling down on the original's incredible animation and music.

In 2018, “Spider-Man: Into the Spider-Verse” won the Oscar for Best Animated Feature and in doing so redefined the limits of animation. To execute their vision, the team broke away from the industry standard of increasingly realistic 3-D animation. Their use of choppy frame rates, a blend of hand-drawn and computer-generated animation, and the use of halftones and dots for shading — a direct reference to the printing process of comic books — set a new standard for animation.

The film’s co-producer Chris Miller said, “We wanted a look that was going to make you feel like … walking into a comic book,” in an interview with Variety.

Following that up would’ve been a big swing for any film, but “Into the Spider-Verse”’s sequel builds on its predecessor’s legacy to offer something new. The animation maintains all of the pop of the original but gives the animators even more creativity to experiment with. Hundreds of unique Spider-People and plenty of new universes seem to have freed every artistic impulse.

Jumping into these new worlds is not only a visual treat, but also an essential continuation of Miles’s story. The first film was narrow in scope: Miles and the various Spider-People pulled into his dimension by the Kingpin’s supercollider had to stop it, before Miles returned them to their worlds and defeated Kingpin himself. A post-credits scene, however, teased something bigger with a futuristic version of the hero — Spider-Man 2099 — able to traverse the multiverse.

That stinger serves as the jumping off point for “Across the Spider-Verse”’s story. The residual effects of Kingpin’s collider spawned new multiversal threats: a reality bending villain known as the Spot and intrusions from other universes. In response to these anomalies, Spider-Man 2099, or Miguel O’Hara, recruits most of the first film’s Spider-People, as well as a vibrant ensemble of new heroes, to maintain the continuity of the multiverse.

Miles tries to join the fight to contain the Spot — a threat to his family and reality — but his philosophy comes into conflict with Miguel’s. Miguel believes “being Spider-Man is a sacrifice. “That’s the job, that’s what you signed up for,” Miguel adds, dubbing these formative losses “canon events.” Miles rejects that rigid interpretation, searching for another way to deal with both the Spot and Miguel. The movie’s narrative is split between two major antagonists, both with enough nuance to carry their own films.

If that plot seems like too much for one movie to handle, it’s because it is. After over two hours, “Across the Spider-Verse” abruptly ends, leaving a tangled narrative web. Its length and ending represent a singular step back from the original movie. With a cadre of new, diverse characters, the runtime feels jam-packed with story. These other Spider-People provide compelling context for Miles’s rejection of Miguel’s ironclad authority. Miles’s resistance, as a Black lead character, feels like a particularly powerful indictment of modern sociopolitical systems. Miguel labels Miles an anomaly, unworthy of the mantle of Spider-Man or of protecting the multiverse, but Miles’s steadfast commitment to protecting people on a personal level proves him wrong.

There are few issues with the film in its own right, but dedicated fans might worry that a few live-action cameos from the larger Marvel universe will bring “Spider-Verse” into the overarching Marvel Cinematic Universe. One of the first film’s strengths was its independence from these cinematic behemoths — it would be a shame for such creativity to be subsumed into those larger brands.

Still, the film remains distinct. Opening in Gwen Stacy’s universe, with a cyan and magenta water-color style that matches her own design, the movie creates a cohesive visual language for every universe. That cohesion makes the introduction of new characters stand out even more. An early fight scene sees Gwen tangle with an alternate universe’s Vulture, made of parchment and charcoal linework. These designs prevent the busiest scenes from becoming overwhelming and allow the animators more creative freedom than even the original film.

The characters also stand out due to impressive voice performances. Shameik Moore delivers another stellar turn as Miles, authentically capturing the awkwardness between childhood and adulthood. Daniel Kaluuya shines as he completely disappears into the British accent of Spider-Punk. The other lead Spider-People — notably Hailee Stenfield as Gwen, Oscar Isaac as Miguel, and Issa Rae as newcomer Spider-Woman — bring more emotional resonance because of incredible voice acting.

It would be remiss to overlook the importance of “Across the Spider-Verse”’s soundtrack to the movie’s sonic profile. Metro Boomin delivers a balanced and consistent tracklist with highlights like “Hummingbird” and “Am I Dreaming?.” Daniel Pemberton seamlessly integrates those songs into a score that blends the usual superhero sound with something more reflective of Miles’s life.

Taken together, “Across the Spider-Verse”’s many characters, worlds, and styles meld together into a triumph of animated storytelling. Centering so many diverse perspectives on screen allowed the animators to explore once again what it means to be Spider-Man and the many forms that identity can take. Sony has once again raised the bar for crafting a Spider-Man story both visually and narratively, whetting appetites for the conclusion to one of the greatest trilogies ever put to screen.

—Staff Writer Daniel Pickney can be reached at [email protected]

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‘Spider-Man: Across the Spider-Verse’ Is Pure Superhero-Movie Bliss

By David Fear

Every world gets the Spider-Man it deserves. And here on Earth-1610, our webslinger is one Miles Morales: a half-Black, half-Puerto Rican teen who loves graffiti, Air Jordans, and quantum physics. Like most Spider-Folk, he was bit by a radioactive arachnid, developed the ability to crawl up walls and sense oncoming danger, ginned himself up some shooters and a suit, and learned that with great power came great responsibility. He also managed to save the many multiverses from collapsing in on each other, after a handful of other interdimensional Spideys — Spider-Gwen, Spider-Man Noir, a mecha-suited spider-gamine — made their way into his corner of the Spider-Verse. Long story.

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From there, Across the Spider-Verse sets its story into motion proper and begins to live up to its name. It’s safe to say that, as in the first movie, Miles will cross paths with other Spider-heroes, including his old mentor Peter B. Parker ( Jake Johnson ). This time, though, he’ll encounter hundreds of different variations of webslingers, ranging from an East Indian Spidey from an alt-future “Mumbhattan” to a British-anarchist Spidey complete with spirit-of-’76 liberty spikes. (Never mind the bollocks, here’s Spider-Punk!) Gunslinger Spideys, dinosaur Spideys, blue-collar Spideys, proud-dad Spideys, and a few who are more spider than man pass through the frame. Several live-action cameos will likely cause squeals of delight from audience members who aren’t even card-carrying Spider-heads. And, given the fact that writer-producers Chris Miller and Phil Lord are once again on board, well … don’t be surprised if a brand-name toy variation of the superhero shows up, too.

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Readers with long memories may recall that there was originally a “Part 1” in the title when this was announced back in 2021, and Across the Spider-Verse does indeed end on a cliffhanger. Which may explain why several subplots feel half-realized, or why the main villain — there are several — feels more like a MacGuffin than a proper arch-foe. We’ll get more when Spider-Man: Beyond the Spider-Verse hits theaters next March. Yet knowing you’re stepping into a Morales interruptus story shouldn’t keep you from basking in awe over what the film does bring to the continuing Spidey saga.

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‘Spider-Man: Across the Spider-Verse’ Review: A Dazzling Reminder of What Superhero Movies Can Be

Kate erbland, editorial director.

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spider man miles morales movie review

Set a year after “Into the Spider-Verse,” “Across the Spider-Verse” makes a pit stop with Gwen Stacy (voiced by Hailee Steinfeld) before checking in with our hero Miles Morales (voiced by Shameik Moore) and further pulling tight the duo’s special bond as Spider-Woman and Spider-Man, respectively. Since we last left her, Gwen’s universe has grown still more complicated — girl, aren’t they all? — but other issues beyond her own web-based problems have kept her from skipping through the multiverse to see Miles in his. Per that packed prologue, Gwen soon finds herself fighting alongside Miguel O’Hara (a dark and haunter vampire ninja Spider-Man, voiced by Oscar Isaac) and Jessica Drew (an ebullient, heavily pregnant, and motorcycle-riding Spider-Woman, voiced by Issa Rae), who arrive in her universe to essentially clean up some multiverse-threatening collateral damage from all the wild stuff that happened in the first film. Eventually, the bad-ass duo take her into their crime-fighting fold when they realize how dangerous this particular world has become to ol’ Spider-Gwen. Related Stories Wait, Who Is Da’Vine Joy Randolph’s Publicist? Don’t Worry, They Fixed Emma Stone’s Dress Right After She Won the Oscar

Spider-Man (Shameik Moore) and Spider-Gwen (Hailee Steinfeld) in Columbia Pictures and Sony Pictures Animation’s SPIDER-MAN: ACROSS THE SPIDER-VERSE.

In Miles’ own world, things are going mostly alright. He’s a bit stretched by the whole being-Spider-Man and also being-a-totally-normal-teen thing, but which iteration of Spidey hasn’t endured such worries in the course of this iconic tale? When a wacky new baddie shows up (his name is Spot, he’s voiced by Jason Schwartzman, he is perfect), Miles takes this particular “villain of the week” in stride.

That’s just about the worst thing he could do to Spot, who is filled with ineffectual rage, an insatiable hunger to pump up his own powers, and a burning desire to punish Miles, who he believes is responsible for his predicament. “I am your nemesis!” Spot frequently yells at Miles, who spends the majority of their first battle texting with his parents (diss!). But that also means it’s far too late when he realizes that Spot actually is someone to be afraid of.

Spider-Man: Across the Spider-Verse

The multiverse is already in a tenuous state, and Spot’s growing ability to create his own portals, skipping and jumping between worlds at whim, is about to crack it even further. And that’s just one part of this story, written by producers Phil Lord and Chris Miller (plus “Shang-Chi and the Legend of the Ten Rings” scribe David Callaham) and content to grow and mature right alongside Miles.

“Into the Spider-Verse” was astute and funny, complicated and emotional, unique and daring, and its sequel only grows and expands on those aims. If the first film showed what superhero movies could be , “Across the Spider-Verse” goes even further: It shows what they should be. In a genre built on the literally super and special, these films are unafraid to stand out and do something truly different, something that pushes the limits, to show the genuine range available to this subset of stories and feel damn good in the process (and look, dare we say, even better).

Spider-Man/Miles Morales (Shameik Moore) in Columbia Pictures and Sony Pictures Animations’  SPIDER-MAN™: ACROSS THE SPIDER-VERSE.

And Dos Santos, Kemp, Thompson, and their mighty band of animators don’t skimp on them at all, every action-packed sequence — from a lovely bit that sees Miles and Gwen reuniting while webbing through the city, to a last-act chase that involves a dizzying amount of players and goes on for twice as long as most movies would dare — is still thrilling from top to bottom. It’s an eye-popping visual feast and a satisfying one to boot. Why can’t all blockbusters even attempt half as much as what “Across the Spider-Verse” puts, so lovingly and so smartly, into all of its setpieces?

When Gwen finally arrives back in Miles’ world, she’s forced to hide nearly all of her motivations from her Spider-BFF, who mostly just wants to hang out with her (and, later, his delightfully sarcastic mentor, Peter B. Parker, voiced by Jake Johnson) and can’t quite see just how much his world (his very universe ) is hanging in the balance. Miles has always been exceptional to the point of being the exception, and while he might believe that being part of something bigger, perhaps in the form of the Spider-Society, is the ticket, he’s about to learn that’s simply not the case. As high-flying and heart-pumping as Miles’ next chapter is, it also cleverly moves toward a series of massive reveals — the kind that feel earned, the kind that feel personal and inevitable, a far cry from the what-if-the-whole-universe-was-gonna-be-destroyed boredom and uniformity that plague so much of this genre — that speak to the distinctive pleasures of this franchise.

Gwen Stacy (Hailee Steinfeld), Peter B. Parker (Jake Johnson) and his daughter Mayday in Columbia Pictures and Sony Pictures Animations’  SPIDER-MAN™: ACROSS THE SPIDER-VERSE.

That’s not something Miguel and company (with some notable exceptions, including the Daniel Kaluuya-voiced anarchist Brit Spider-Punk) are ready to hear, if only because they’ve become convinced of the power of Spider-Man’s mythology to quite literally hold the multiverse together. Miles, at first purely on accident and then totally by force of will, cannot abide by living the same beats as the rest of his brethren, and that puts him on a staggering crash-course with just about everyone and everything. Miles has always broken the mold, and once he sees the mold itself, he’s gotta do it again, his way.

Spider-Man (Shamiek Moore) in Columbia Pictures and Sony Pictures Animation’s SPIDER-MAN: ACROSS THE SPIDER-VERSE.

And if all of this sounds like a tremendous amount to pack into a single film, there’s the rub. In a somewhat disappointing twist, “Across the Spider-Verse” isn’t really a single film, it’s instead one-half of a planned two-film sequel. The decision to split the sequel into two films seems to have been lost on plenty of fans. Lord and Miller announced the two-part sequel, complete with “Part One” and “Part Two” title addendums, back in December 2021. By April 2022, the two films had been renamed “Across the Spider-Verse” and “Beyond the Spider-Verse,” a move that seems to have caused the bulk of the confusion. Even in this critic’s well-attended screening, the end reveal that this story is very much not over was met with cocked heads.

It’s a heck of a problem: to simply have too much good stuff to stuff into just one film, leaving the audience on tenterhooks for when they can see this particular superhero story actually wrap up ( it’s March 29, 2024, by the way ). It’s the only thing about “Into the Spider-Verse” that feels familiar, too, a choice that puts it on the “Fast X” or “Harry Potter” or “The Hunger Games” route, with one exception: this conclusion will surely be worth the wait.

Sony Pictures Animation releases “Spider-Man: Across the Spider-Verse” in theaters on Friday, June 2.

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SPIDER-MAN™: ACROSS THE SPIDER-VERSE

Spider-Man: Across The Spider-Verse  is a film that is as visually stunning as it is philosophical. After the first chapter of Miles Morales’ journey in 2018, ( Into The Spider-Verse ) directors Kemp Powers , Justin K. Thompson, and Joaquim Dos Santos bring the spectacle that is nothing short of a woven tapestry of comic book realness. With an action-packed concept, it’s a roller-coaster ride through alternate realities and timelines as the viewer is introduced to hundreds of Spider-people.

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The film starts with a bit of backstory on Gwen Stacy, aka Spider-Gwen (Steinfeld) in Earth-65, and how she gained her powers, in addition to what happened to Peter Parker from her universe. Her father, George (Whigham), is a cop who believes Spider-Gwen is a villain who commits crimes and doesn’t know his daughter is the masked hero. Over in Earth-1610, Miles Morales has improved upon his superheroisms to become beloved by the people as the famed Spider-Man of his universe, but his relationship with his parents Jefferson (Henry) and Rio (Valez) is beginning to deteriorate. Without knowing they are going through similar situations, Gwen and Miles have found it hard to connect with others and often think about meeting again, which they do under semi-tragic circumstances.

Thanks to the help of Jessica Drew, aka Spider-Woman (Rae), and Miguel O’ Hara (Issac), aka Spider-Man 2099, Gwen is able to flee her universe to join a group of Spider-folks from other universes in monitoring multiverse anomalies, including Earth-1610 villain called Spot (Schwartzman). All of this information is kept from Morales, but after linking up with Gwen, Pavitr Prabhakar (Soni), aka Spider-Man India, and Hobie Brown (Kaluuya), aka Spider-Punk, he begins to learn the truth about his origins as a hero and where he stands within the Spider-Verse.

Amid the multi-verses and Spider showdowns,  Across The Spider-Verse  explores the concept of being the master of one’s fate. Morales embodies this principle as his evolution isn’t defined by his aged look or newly discovered powers but by his choices. He grapples with destiny and everyone else’s expectations of him, which is a relatable journey that resonates beyond the screen. This is also how the audience learns more about his parents and his connection to his Puerto Rican heritage. The theme empowers the movie with a heartfelt emotional core, adding depth to the high-octane spectacle of it all. 

For all its artistic triumphs, the plot sometimes feels overly complex. In an attempt to pull off the multidimensional narrative, the storyline strays into convolution, challenging the audience to untangle the threads of an intricate Spider-Verse. There are so many people, and details can be hard to follow (especially without basic comic book knowledge). BUT! There is an end goal to all that, and it’s a testament to the film’s ambition, rewarding the patient viewer with a layered interpretation of heroism and fate.

Spider-Man: Across The Spider-Verse  It’s a film that flourishes in its commitment to storytelling, despite some of the plot difficulties. It’s a memorable journey where writers Lord, Miller, and Callaham understand how to formulate a comics adaptation. This latest addition to the Spider-Verse canon reminds us why we love superhero narratives — not just for the action but their humanity. 

Title:  Spider-Man: Across The Spider-Verse Release date:  June 1, 2023 Distributor:  Sony Pictures Entertainment Director:  Kemp Powers, Justin K. Thompson, and Joaquim Dos Santos Screenwriters:  Phil Lord, Christopher Miller, and Dave Callaham Cast: Shameik Moore, Hailee Steinfeld, Daniel Kaluuya, Issa Rea, Oscar Issac, Jake Johnson, Bryan Tyree Henry, Jason Schwartzman, Karan Soni, Luna Lauren Valez, Shea Wigham, and Andy Samberg. Rating:  PG Running time:  136 min

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Review: No sophomore slump for spectacular ‘Spider-Man: Across the Spider-Verse’

A cartoon Spider-Man strikes a pose in the air above the New York City skyline.

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It’s an overused and hyperbolic phrase online, but in retrospect, it seems that 2018’s “Spider-Man: Into the Spider-Verse” was a true cultural reset, especially when it comes to comic book movies. The dazzling Oscar-winning animated feature evolved what a comic book movie could be, both visually and narratively, using the animation medium to create an immersive cinematic experience that felt like jumping into the rapidly flipping pages of a comic book, with an addictively propulsive rhythm that only digital technology could create.

The film also pushed mainstream animation style into something more sophisticated and artful, drawing on the style of traditional comic book illustration and melding it with digital aesthetics and modern art to create a wholly unique piece of work that still managed to center the story of Spider-Man Miles Morales ( Shameik Moore ) while self-reflexively satirizing the long and rich lore of the many other Spider-People.

The sequel, “Spider-Man: Across the Spider-Verse” directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, written by Phil Lord, Christopher Miller and Dave Callaham, contains every element of what made the first one so compelling — not just the characters but the eye-popping production design of Patrick O’Keefe and perfectly calibrated music by Daniel Pemberton — while evolving the aesthetic and story into a darker, edgier place. Drawing from inspirations beyond the comic book world as diverse as Abstract Expressionism, storybook illustrations, ballet and punk, “Across the Spider-Verse” is a stunning blend of artistic traditions with a gleefully disruptive attitude. It’s essentially a cyberpunk text, “The Matrix” of animated comic book movies, in which Miles has to decide if he will determine his fate or adhere to the stories that have already been written for him.

Animated shot of Gwen Stacy in white super suit, hanging upside down as Miles Morales hangs nearby in black suit.

“Across the Spider-Verse” is also the story of Gwen Stacy (Hailee Steinfeld), a.k.a. Ghost-Spider, the superhero with a dancer’s grace who befriended Miles in the previous film. Gwen gets a lot more screen time here as she leaves home to join the Spider-Society, an elite strike force led by the glowering Miguel O’Hara (Oscar Isaac), tasked with keeping the multiverse in order, booting anomalies and preventing “canon-disrupting events.” Miles, stretched thin from leading his secret double life as Brooklyn’s favorite superhero, misses his friend Gwen, and ends up following her into the multiverse. Canon disruption ensues.

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Even at two hours and 20 minutes, the run time evaporates in a blur of color, characters and comic book cameos, but the writers hammer home the pertinent themes and messages — growing up and finding yourself is hard, and so is parenting, especially letting go of your kids when they need to find their own way. There’s also an argument that a religious adherence to a text can quickly become not just violently ideological but even fascistic; just because a group of people has a shared experience doesn’t mean everyone must fall in line — resisting dictatorial ideology and daring to imagine another way is in fact, a radical act of self-determination.

A breathlessly beautiful achievement not just in animation but also comic book movie storytelling, “Spider-Man: Across the Spider-Verse” is willing to shred the lore from top to bottom and weave it back together again in new, surprising and wildly entertaining ways. It’s simply spectacular.

Katie Walsh is a Tribune News Service film critic.

‘Spider-Man: Across the Spider-Verse'

Running time: 2 hour, 20 minutes Rating: PG, for sequences of animated action violence, some language and thematic elements Playing: Starts June 2 in general release

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Spider-Man ‘Spider-Verse’ sequel: Overstuffed, but wow, those visuals

The follow-up to the hit 2018 animated film ‘spider-man: into the spider-verse’ is a lot of movie in more ways than one.

spider man miles morales movie review

Say this much for “Spider-Man: Across the Spider-Verse”: It’s a lot of movie. When “ Spider-Man: Into the Spider-Verse ” opened in 2018, it felt like a bolt of something genuinely new, its dazzling animation breathing new life into a mini Marvel franchise that was verging on exhaustion and its protagonist, a Brooklyn teenager named Miles Morales (voice of Shameik Moore), taking suave ownership of the iconic title character for a new generation.

As in all things Marvel, a terrific movie cannot be allowed to remain a terrific movie: It must be sequelized, blown up, padded out and lengthened to create way too much of a good thing. In the case of “Across the Spider-Verse,” that means a movie that is an immersive, mesmerizing delight to watch while being something of a chore to sit through.

At 2 hours and 20 minutes, this crammed, crazed, visually stunning bricolage of a film marks yet another entry into the Movies Are Too Damn Long sweepstakes. For Spider-Man aficionados primed to appreciate the rapid-fire barrage of inside jokes and Easter eggs, “Across the Spider-Verse” would be a trippy, fan-friendly pleasure at any running time. Others along for the ride are encouraged to stop trying to follow an alternately chaotic and trite narrative (there’s that pesky multiverse again!) and bathe in images that shimmer, pop, glitch and mutate with mind-bending imagination and speed.

You’re going to ask me what “Across the Spider-Verse” is about, aren’t you? Here goes: A year after the events of “Into the Spider-Verse,” Miles, now 15, is going to high school and missing his friends Peter Parker and Gwen Stacy while suffering the usual pangs of adolescent rebellion and anxiety over soon separating from his warm and understanding parents, Rio (Luna Lauren Velez) and Jeff (Brian Tyree Henry). Oh, and he is busy saving the world as the movie opens from a new supervillain called the Spot, who insists that he is Spidey’s new nemesis.

This setup transpires after another setup: a borderline incoherent prologue during which Gwen (Hailee Steinfeld) does her thing as Spider-Woman, doing battle with a drawing from Renaissance Italy in the Guggenheim. (“Yeah, I think it’s a Banksy,” a nonchalant museum-goer remarks while overlooking the carnage.) Gwen, looking edgy in a pink-tinged undercut and punk-rock scowl, is going through her own struggles with Dad — her father, like Jeff, is a police officer — so is ripe for recruitment when a mysterious group of Spidery superheroes invite her to join their elite strike force. For the next couple of hours and through various portals, alter egos and parallel dimensions, Gwen and Miles travel through multiple universes to try to right wrongs, fend off cosmic collapse and heal personal wounds.

At least, I think that’s what they’re doing? Directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson from a script by Phil Lord, Christopher Miller and Dave Callahan, “Across the Spider-Verse” is a frenetic, world-hopping carnival ride of a film, its word-happy dialogue and constantly expanding cast of characters leaving garden-variety viewers in the dust of dazed confusion. And, as is now required of every Marvel movie, “Across the Spider-Verse” is nothing if not self-referential: Callbacks and clever, audience-pleasing cameos are rife in a film that makes snarky fun of canon worship even as it practices it at nearly every turn.

For non-Marvelites, it all feels a bit desperate, the self-congratulation going from winkingly playful to unbecoming. Miles and Gwen are still thoroughly appealing as protagonists, as Moore delivers a particularly nuanced performance as a conflicted teenager bristling with equal parts insecurity and anger, and we’re introduced to some equally promising new characters, voiced by Issa Rae, Daniel Kaluuya, Karan Soni and Amandla Stenberg. Their performances, married to reality-adjacent rendering on-screen, make for characterizations that are more fully rounded than in most live-action movies.

Still, for all of “Across the Spider-Verse’s” disorienting action and cut-happy editing, it remains stubbornly inert and, considering the real-life humans behind the animated avatars, strangely uninvolving. The real draw here is, well, the drawing: a visual language that explodes with expressiveness and imagination, taking gloriously full advantage of every palette, mode and mash-up at its disposal.

‘Iron Man’ rescued superhero movies but ultimately it wrecked them

From lyrical, sunset-toned washes of lavenders, pinks and oranges to pen-and-ink chiaroscuro, vintage Ben-Day dots and Legos to nods toward F.W. Murnau and Jeff Koons, and Ab Ex newsprint collage to computer games, “Across the Spider-Verse” provides a whirligig tour, not just through comic book history but through Art with a capital A: It’s an extravagant, very cool love letter to graphic design, executed with superb draftsmanship and giddy, infectious joy.

It’s just this impressive amalgamation of realism and stylization that allows “Across the Spider-Verse” to transcend its narrative shortcomings: Even at its most obscure or muddled, it’s never less than a pleasure to watch. By the time it reaches its cacophonous, absurdly overdetermined climax, ending in the tantalizing promise of a next installment, it will barely matter if you have no idea what’s happening or why. You’ll want to stay in this world forever.

PG. At area theaters. Contains sequences of animated action violence, some strong language and mature thematic elements. 140 minutes.

spider man miles morales movie review

Spider-Man: Miles Morales review: "A great but short demonstration of what PS5 can do"

Spider-Man Miles Morales

GamesRadar+ Verdict

A brilliant but all too brief sample of Miles Morales' superhero life.

Fantastic superhero playground

Charismatic lead

Satisfying combat and web-swinging

A very brief experience

Only one mission thread

Why you can trust GamesRadar+ Our experts review games, movies and tech over countless hours, so you can choose the best for you. Find out more about our reviews policy.

I'm slightly conflicted with Miles Morales' PS5 debut. It is great, looks incredible and packs in a satisfying story in its short time - but it is brief, to the point where placing it front and center of the PS5 launch lineup feels a little... dishonest. For all the visual spectacle and genuine joy of seeing Miles step up as a character, there's no getting away from the fact that you'll likely see the credits roll before your other launch games have finished downloading. There's nothing wrong with that, obviously - I'm all for short games - just be prepared to see the main campaign through in a couple of evenings. It's a little longer, obviously, if you take on more side activities but, nonetheless, there's days of content here at best, not weeks. And, while Sony did align it with other standalone expansions like The Last of Us' Left Behind and Uncharted's Lost Legacy, this has a much more DLC feel in comparison; an extension of the original game, rather than a companion.   

Great things

It is good though, let me make that clear, as well as a great demonstration of what the PS5 can do. Even before the action starts, the intro - with Miles on a subway - introduces the new DualSense haptics with a 'holy shit that actually feels like a train!' moment. Throughout the game the pad physically pops and crackles with Miles' electrical Venom abilities, and recreates many recognizable sensations through some sort of vibrational voodoo. The load times, or lack of, are also amazing. Whether you fast travel across the map, or leave an interior to go outside, it's instantaneous, with the only noticeable delay being the second or two it takes to start from the PS5 menu. It also looks incredible, recreating a snowy New York at a near photorealistic level. There are moments in the latter half of the game, when gentle flurries set in and distant buildings fade into the weather, where the only thing that gives it away as a game is the little guy swinging past in an onesie.  

That little guy, Miles, is a great character too: he's naive but keen, desperate to live up to his title but plagued with self-doubt and questions. He's already got his abilities but he's still learning the ropes, while feeling his way both as a young adult and a new superhero. The recent death of his father is just as life-changing as his new Spider-life and there's a great 'story so far' recap at the start that reframes the original 2018 game entirely from Miles' perspective - the focus obviously heavily on his loss, with Pete's story as a sidebar that leads into how he became a new Spider-Man. 

Superhuman being

Throughout, the focus is on the human part of 'superhuman'. The original game did a good job of using Peter's relationships to add some heart and emotional weight when the story needed it. Here it is all about a kid dealing with his life, of which superheroing is just a part. The opening places a firm emphasis on community and family, making his responsibilities, relationships and hopes outside of Spider-Man clear - the latter just one more thing he has to deal with. It does a great job of conveying the pressures of youth: that inexperienced overload from experiencing everything for the first time and feeling like it has to all be dealt now or it's a disaster. Being young can be a lot to take in at the best of times and this somehow channels that in a believable way, even if it is about a kid from Brooklyn who can stick to walls. Full credit to actor Nadji Jeter here, who provided the voice, face and mocap, who's excellent as Miles, creating a character full of enthusiasm and charm as he navigates his hopes and fears for the future. 

Miles' life as a superhero plays out in a similar way to Peter Parker's, with a city to protect and crimes to fight. Again, like the last game, there's just an exhilarating freedom to being let loose with those powers. Diving from a skyscraper to swing at the last possible minute as street sounds rush up to meet you never gets old. Even here Miles' character comes through, with lovely animations as he occasionally flails through the air or overbalances as he lands, showing how new he still is to everything. 

Combat is the only mechanic that's really overhauled, with Miles' new Venom powers letting him unleash splashy area-of-effect ground pounds, or distance covering crackling dashes that can launch enemies into the air. There's a rhythm that builds around charging and unleashing the ability to maximum effect. It's also tactical, with opponents using equipment that can only be disabled or destroyed by Venom attacks. The new ability to turn invisible is fun as well, but feels under-explored in a game with an already heavy stealth emphasis. You spend much of your time unseen as it is, hopping between high spots searching out takedowns, so the idea of stealth camo never really feels meaningfully utilized as a mechanic.

Fighting chance

As enjoyable and satisfying as the combat is, it also underlines how short the game is. The skill tree is light and lacks any real game-changing upgrades while there are only four gadgets. They're all fun and functional but never capture the improvisational magic of things like the last game's trip mines or web bombs. The brevity of the story also means it sometimes feels like you're unlocking things faster than your ability to master the combinations and options. Even chasing street crimes and side challenges I don't think I really got a complete feel for some abilities and interplays until almost the end, as there isn't enough to practice with unless you rerun repeatable objectives. 

There aren't really any side mission threads either. There's one main storyline, some enemy bases to clear out, things to collect, repeating street crimes and slightly structured one-off events like knocking ice off a crane to stop it falling or finding a stolen car. There are a few side missions but they're mostly single hits unlocked by story progress - not because they're related to what's happening but more to space things out and make them last until the end. 

The main story does at least make what time it has count and it's impressive just how much it packs a full-size game feel into a barely double-digit run time. There are some good set pieces and even better narrative moments. One of my early concerns was that everything was moving too fast for you to really care much for the characters, but it pulls it off. When the game wants you to really feel something, it hits all the right buttons and I was genuinely affected by the ending on more than one level. There's also a moment that is very clearly trying to be PlayStation's version of the 'Leap of faith' from Into the Spider-Verse. It's not quite as good, but nails that 'hell yeah! surge of excitement of when the music and the mood comes together perfectly. It also ends its crescendo with you seamlessly in control, soaring above the city still buzzing from the build-up.

Overall it's been a weird one to review. I really enjoyed it, but the brevity feels like something to warn you about given that this is presented as a launch title. Even if you were expecting a small 'full' game, this is smaller. It plays like great DLC, because it is great and also clearly DLC, rather than a stand-alone expansion. Things like Left Behind and Lost Legacy worked because they were linear and gave the developer precise control over the pace and punch of a single story lasting a few hours. Here you've got a great story but one that takes place in a huge open world with little else overly meaningful to fill it. The story, characters, and action are all enjoyable, but if you unboxed your shiny new PS5 on Friday night and settled in to play this over the weekend, you'd likely reach the 'hoovering up collectibles because it's all that's left' stage before Monday came around.

Leon Hurley

I'm GamesRadar's Managing Editor for guides, which means I run GamesRadar's guides and tips content . I also write reviews, previews and features, largely about horror, action adventure, FPS and open world games. I previously worked on Kotaku, and the Official PlayStation Magazine and website. 

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Movie Reviews

'spider-man across the spider-verse' may just win the series another oscar.

Bob Mondello 2010

Bob Mondello

The first film in an animated Spider-Verse trilogy won an Oscar in 2018. The latest installment, Spider-Man Across the Spider-Verse , will be a strong contender to repeat that accomplishment.

AILSA CHANG, HOST:

When an animated movie about an Afro-Latino superhero was released in 2018, few observers expected it to be a hit. But that was "Spider-Man: Into The Spider-Verse,” and it was a huge success. It took in almost $400 million at the box office, and it even won the Oscar for Best Animated Feature, setting the bar a whole lot higher for the sequel. Well, that sequel is also now nominated for Best Animated Feature. And with the Oscars ceremony coming up on Sunday, here’s critic Bob Mondello with a reprise of his review for "Spider-Man: Across The Spider-Verse"

BOB MONDELLO, BYLINE: Here we go again, again.

(SOUNDBITE OF FILM, "SPIDER-MAN: ACROSS THE SPIDER-VERSE")

SHAMEIK MOORE: (As Miles Morales) My name's Miles Morales. I'm Brooklyn's one and only Spider-Man.

MONDELLO: Not sure if Spidey's is the most started, restarted and possibly jumpstarted superhero saga ever, but with eight live-action features starring three different Peter Parkers and now two gorgeously animated "Spider-Verses" starring Shameik Moore's Miles, it has to be up there. And yet there's a new wrinkle - a faceless guy in white with black holes all over him robbing a convenience store.

JASON SCHWARTZMAN: (As The Spot) Excuse me. Do you have an ATM machine? Preferably not chained to the wall? Nothing. This should be simple enough. Just make a hole. Grab the money.

MOORE: (As Miles Morales) Why do people say ATM machine?

SCHWARTZMAN: (As The Spot) Who said that?

MOORE: (As Miles Morales) The M stands for machine.

SCHWARTZMAN: (As The Spot) Spider-Man.

MOORE: (As Miles Morales) So are you, like, a cow or a Dalmatian?

MONDELLO: He's more a walking wormhole.

SCHWARTZMAN: (As The Spot) I am The Spot.

MOORE: (As Miles Morales, laughing).

SCHWARTZMAN: (As The Spot) It's not funny.

MONDELLO: It kind of is, except the wormholes he creates are destabilizing whole universes, not to mention making Miles late for a meeting with his folks and a high school guidance counselor.

RACHEL DRATCH: (As Principal) And a B in Spanish.

LUNA LAUREN VELEZ: (As Rio Morales) What? Miles.

BRIAN TYREE HENRY: (As Jefferson Davis) Are you trying...

MOORE: (As Miles Morales) Calmate, Mami. Eso no es my fault.

MONDELLO: That gets him grounded until a pal shows up through one of The Spot's wormholes.

HAILEE STEINFELD: (As Gwen Stacy) Miles.

MOORE: (As Miles Morales) Gwen?

STEINFELD: (As Gwen Stacy) Want to get out of here?

MONDELLO: Gwen Stacy, Ghost Spider in her universe, introducing him to an elite crew that includes all the best spider-people.

MOORE: (As Miles Morales) I'm Spider-Man.

AMANDLA STENBERG: (As Margo Kess) No way. All of us are.

MONDELLO: And even a spider-cat.

MOORE: (As Miles Morales) Can this day get weirder?

(SOUNDBITE OF CAT MEOWING)

MOORE: (As Miles Morales) I guess it can.

MONDELLO: Where "Into The Spider-Verse" was essentially a tricky exercise in worldbuilding, "Across The Spider-Verse" is about maturity and personal growth. Miles discovers that his new spider buds have a lot in common.

OSCAR ISAAC: (As Miguel O'Hara) There's moments in our stories that are the same for all of us.

MONDELLO: The death of Uncle Ben, say, and even as a South Asian spider dude establishes, personality quirks regarding phrasing.

MOORE: (As Miles Morales) I love chai tea.

KARAN SONI: (As Pavitr Prabhakar) Chai tea? Chai means tea. You're saying tea tea.

MONDELLO: So the question confronting Miles is the one that confronts most 15-year-olds - indeed, most people. With a life trajectory basically laid out by family, tradition, circumstances...

MOORE: (As Miles Morales) Everyone keeps telling me how my story is supposed to go.

MONDELLO: ...Does he still have options?

MOORE: (As Miles Morales) I'm going to do my own thing.

MONDELLO: What makes his working out of the question artful is the literal art the filmmakers bring to it.

STEINFELD: (As Gwen Stacy) Thread the needle.

MONDELLO: Clever takes on comic book illustration mixed with uniquely cinematic animated styling for each Spider-Verse - in fact, for each spider person, from punkish graffiti to Lego blocks, urban grit, saturated Indian reds and golds and the shifting watercolor pastels that make Gwen's universe seem to be reflecting her moods.

STEINFELD: (As Gwen Stacy) In every other universe, Gwen Stacy falls for Spider-Man. And in every other universe, it doesn't end well.

MOORE: (As Miles Morales) Well, there's a first time for everything, right?

MONDELLO: If the last film was a major reset for genre expectations, "Across The Spider-Verse" is an expansion for artistic ones, rich enough in feeling and character and innovative visuals to warrant - and I'm kind of astonished to be saying this - the second or even third visit that fans will want to give it. I may just join them.

I'm Bob Mondello.

(SOUNDBITE OF SONG, "CALLING")

SWAE LEE: (Singing) Just to save you, I'd give all of me.

Copyright © 2024 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Spider-Man: Across the Spider-Verse Star Says Film Was 'Robbed' of Best Animated Feature Oscar

And the winner is… the boy and the heron..

Adele Ankers-Range Avatar

Spider-Man: Across the Spider-Verse lead voice actor Shameik Moore believes the film was "robbed" of the Best Animated Feature Oscar after losing out to Hayao Miyazaki's The Boy and the Heron .

Moore, who voices Miles Morales in the animated Spider-Verse movies, took to X/Twitter to share his reaction to the announcement of the Best Animated Feature winner at the 96th Academy Awards, simply writing "robbed" when Studio Ghibli's The Boy and the Heron claimed the Oscar over Sony's Across the Spider-Verse.

*robbed — Shameik Moore (@shameikmoore) March 11, 2024

The actor followed up with a second X/Twitter post admitting he was being a "sore loser" over the Oscar snub, but he respects all the winners that took home statues on the night. He also looked to the future by promoting the third and final installment in the Spider-Verse franchise, Spider-Man: Beyond the Spider-Verse .

Respect to the winners. It’s true, I’m definitely a sore loser, but we didn’t lose, Spiderverse has impacted ALOT of lives, we may not have been acknowledged tonight but life goes on, and BEYOND….. yea get ready 😤 — Shameik Moore (@shameikmoore) March 11, 2024

2023's Across the Spider-Verse was Oscar-nominated in the Animated Feature Film category alongside Elemental, Nimona, Robot Dreams, and The Boy and the Heron, but it was Miyazaki's Japanese animated fantasy that emerged victorious, with high praise from Spider-Verse producer Christopher Miller who called it the "GOAT."

Well, if you’re gonna lose, might as well lose to the GOAT — Christopher Miller (@chrizmillr) March 10, 2024

The sequel to the Oscar-winning Spider-Man: Into the Spider-Verse proved to be one of the biggest critical and commercial successes of 2023, setting several records after earning $690 million during its worldwide box office run that began on June 2, 2023, and had two different versions playing in cinemas .

Across the Spider-Verse has 95% on Rotten Tomatoes , with critics calling the film "visually dazzling" and "action-packed." IGN's review said it is "a more-than-worthy follow-up to an all-time classic" that "surges with visual inventiveness and vibrance in an undeniably strong evolution of the style established in Into the Spider-Verse."

You can check out the first 10 minutes of the animated blockbuster here and watch the entire movie at home by streaming on Netflix , renting on Amazon Prime Video or Apple TV, or picking up the 4K/Blu-ray disc .

Adele Ankers-Range is a freelance entertainment writer for IGN. You can follow her on X/Twitter @AdeleAnkers.

In This Article

Spider-Man: Across the Spider-Verse

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Why the best time for miles morales' spider-man debut is in mcu phase 7.

Miles Morales is one of the most popular Spider-Man characters at the moment, but it is not the right time to introduce him to the MCU.

  • Introducing Miles Morales in Phase 7 is the best move for the MCU to do justice to his character's popularity and significance.
  • Miles works best as Peter's replacement, not sidekick, highlighting the importance of timing and character development in the MCU.
  • The Multiverse Saga is not the right time for Miles' debut, requiring a well-planned introduction for the character's growth.

Despite the current success of the Spider-Verse franchise, the best time for Miles Morales’ live-action Spider-Man debut is well into the MCU ’s Phase 7. Spider-Man has had a complicated live-action history, but Spider-Man's MCU timeline began in 2016’s Captain America: Civil War after Marvel came to an agreement with Sony regarding rights. With that came the opportunity to introduce plenty of iconic Spider-Man comic characters, as seen in No Way Home . However, fans have been calling for the debut of one newer Spider-Man character because of his recent popularity.

Spider-Man: Into The Spider-Verse introduced Miles Morales to the big screen for the first time, making him an extremely popular Spider-Man character. With the Spider-Verse films thriving in animation, many fans are wondering when Miles will make his inevitable MCU debut. Though Sony producer Amy Pascal has confirmed that a live-action Miles Morales is in the works, it won’t be for a while. Marvel and Sony’s decision not to include Miles in the Multiverse Saga thus far is the right one. While Miles is currently in high demand, rushing his MCU debut before Phase 7 wouldn’t do the character justice.

MCU Peter Parker Vs Spider-Verse Miles Morales: Who's The Strongest Spider-Man?

Miles morales works best when he’s peter’s spider-man replacement, not sidekick.

A key plot point of Miles’ character in the Spider-Verse films is him growing into his newfound powers and having to take over the responsibilities of his universe’s Peter Parker . While he is initially a sidekick to Peter B. Parker, he quickly becomes his own hero and an equal to the other Spider-Men. Miles still learns from Peter while also being able to teach his mentor. Miles shines when he understands the weight of the responsibilities he has, and that dynamic between him and Peter just doesn’t seem likely if he were to be added to the MCU right now.

While Tom Holland hasn’t been confirmed for the yet-be-be-announced Spider-Man 4 , it seems like his iteration of Spider-Man still has some time left in the MCU. It would be interesting to see how Holland’s Spider-Man interacts with Miles Morales in his next live-action appearance, but Miles would undoubtedly play more of a sidekick to Holland’s Peter. The best time to truly introduce Miles to the MCU would be when Holland’s Peter is nearing the end of his story, and Miles has to step up to take over the mantle. Pushing Miles to accept responsibility is when his character thrives.

Why The Multiverse Saga Is Not The Right Time For Miles’ Spider-Man Debut

The Multiverse Saga already has so many storylines going on that it is just not the right time for Miles’ Spider-Man debut. The concept of the multiverse lends itself perfectly for the MCU to introduce characters from other franchises, as they can simply excuse them as a variant from another universe. However, Miles deserves better than to fall under the variant umbrella . Especially with his popularity and significance among fans, Miles needs a well-planned debut. Any development his character goes through has to occur in the main universe, not in an alternate timeline where his progress can be simply disregarded.

MCU: The 10 Best Variants So Far, Ranked

It’s an exciting thought to imagine Miles Morales debuting in the MCU. However, the best time for his character’s live-action debut must be well into Phase 7. With the grand scale of the Multiverse Saga and the fact that Tom Holland’s Spider-Man will likely return to the MCU, Miles wouldn’t have the grounds to grow in this current scenario. Waiting until Phase 7 will give the MCU ample time to plan a successful debut for Miles’ Spider-Man that’s worthy of his character.

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Spider-Man: Into the Spider-Verse

Spider-Man: Into the Spider-Verse (2018)

Teen Miles Morales becomes the Spider-Man of his universe and must join with five spider-powered individuals from other dimensions to stop a threat for all realities. Teen Miles Morales becomes the Spider-Man of his universe and must join with five spider-powered individuals from other dimensions to stop a threat for all realities. Teen Miles Morales becomes the Spider-Man of his universe and must join with five spider-powered individuals from other dimensions to stop a threat for all realities.

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  • Trivia If you hit pause anytime a train goes by, because all the animators wanted to animate Stan Lee , he's in almost every single train.
  • Goofs Miles is nearly a foot shorter than Peter Parker, yet when Miles takes one of Peter's old costumes to use as his own, it fits him perfectly. This was done intentionally by the filmmakers, meant to be an illustration of Miles' earlier conversation with Stan, the comic shop owner ("It always fits. Eventually."). Miles has grown more confident, more skillful, and more comfortable with his new powers and is finally ready to take on the role of Spider-Man; thus the costume (like the role itself) finally "fits".

Stan : That person who helps others simply because it should or must be done, and because it is the right thing to do, is indeed without a doubt, a real superhero.

  • Crazy credits There is a dedication in the closing credits to "Spider-Man" creators Stan Lee and Steve Ditko , who passed away in 2018. It is an image of Stan Lee's glasses with a quote: "That person who helps others simply because it should or must be done, and because it is the right thing to do, is indeed without a doubt, a real superhero. - Stan Lee" "Thank you Stan Lee & Steve Ditko for telling us we're not the only ones."
  • Alternate versions The Blu-Ray for the film features an "Alternate Universe Cut," featuring unseen, unfinished and unused footage, which shows alternate scenarios for certain scenes and extends the runtime to 2h 23m instead of the original 1h 57m.
  • Connections Edited from Cat Ballou (1965)
  • Soundtracks People Get Up and Drive Your Funky Soul (Remix) Written by James Brown , St. Clair Pinckney and Fred Wesley Performed by James Brown Courtesy of Republic Records Under license from Universal Music Enterprises

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All 3 Miles Morales Spider-Man Movies in Order

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Miles Morales is one of the most popular teenage superheroes in the Marvel Universe . The character is originally from the alternate universe Earth-1610, where he lived with his parents in Brooklyn, New York. The universe was also known as Ultimate Universe, and Marvel Comics even dedicated a special comic book order line named Ultimate Comics. After the major comic book event Secret Wars, Miles, with many characters from Earth-1610, relocated to the main Earth-616 , where he is now working with Peter Parker and the rest of the Avengers.

Miles Morales has never been part of the live-action MCU movies . Still, it has been successfully immortalized in Sony’s animated movies, which became a huge part of the popular culture and staples of future animated projects. This article will discuss all Miles Morales movies and suggest the optimal watch order. However, despite not having “a representative” in the live-action MCU, we will mention references to the character, making this article more interesting.

How many Miles Morales movies are out there?

There are currently two Miles Morales movies. The first movie, titled ‘Spider-Man: Into the Spider-Verse’ was released in 2018, and the second installment of the franchise was released in 2023, titled ‘Spider-Man: Across the Spider-Verse.’ The last installment is set to be released in 2024.

Miles Morales movies in order (at a glance)

  • ‘ Spider-Man: Into the Spider-Verse’ (2018)
  • ‘ Spider-Man: Across the Spider-Verse’ (2023)
  • ‘ Spider-Verse: Beyond the Spider-Verse’ (2024)

Honorable mentions:

  • ‘ Spider-Man: Homecoming’ (2017)
  • ‘ Spider-Man: No Way Home’ (2021)

Besides these two movies, Miles Morales is mentioned or referenced in the MCU live-action movies. Kevin Feige confirmed that Miles Morales is somewhere in the MCU, but he cannot develop a live-action movie because this isn’t the right time to do it.

It also didn’t help Feige that Sony released ‘Spider-Man: Into the Spider-Verse,’ which was a greatly successful animated project, but that didn’t stop him from at least including an easter egg in Marvel Cinematic Universe. Hence, we will briefly discuss the honorable mentions and conclude this article. If you are interested, stay with us until the end.

‘Spider-Man: Into the Spider-Verse’ Recap & Ending Explained: Beginnings of Miles Morales

Are miles morales movies connected.

Miles Morales movies are most definitely connected. The titular character established his origin story in the first movie, and the new adventures of his Spider-Verse journey will continue in the next two movies.

It also helps that ‘Across the Universe’ heavily implies there was a time jump and that Miles will continue “finding” himself in the world of superheroes.

What is the best way to watch Miles Morales movies?

With all being said, we have to say that the best way to watch Miles Morales movies is by release date, which correlates with the chronological order of the movies.

Creators didn’t want to complicate things, and the way we left off in Into the ‘Across the Spider-Verse,’ we can safely say Sony and the movie developers definitely planned more Miles Morales movies.

Miles Morales movies in order (by release date)

1. ‘spider-man: into the spider-verse’ (2018).

All 3 Miles Morales Spider-Man Movies in Order

In Brooklyn, New York, a young Afro-Latino boy , Miles Morales, lives his normal life with his parents Jefferson and Rio, who both work in public services as police officer and nurse, respectively.

Miles is a talented and intelligent individual whose parents support his academics as best as possible. When the gifted teenager enrolls in the prestigious middle school Brooklyn Vision Academy , he shares the great news with his Uncle Aaron. Miles doesn’t know that Aaron is working with a criminal Kingpin, Wilson Fisk , and does his dirty work under the persona Prowler, who recently stole a genetically enhanced spider that bites Miles.

Yes, Miles Morales’ Dad Died! Here’s What Happened

The boy soon realizes that he has gained superpowers, and after Peter Parker/Spider-Man dies, Miles decides to take over the mantle and protect the city of New York. From there, everything becomes complicated for Miles – he meets Gwendolyn Stacy, Spider-Woman of the alternate universe, Peter B. Parker, who teaches him the reigns of being a superhero, and realizes that the same Kingpin is building the collider to reunite with his deceased wife and son.

Everything kickstarts from there, with Miles Morales meeting other versions of Spider-Men and learning how to become the ultimate hero the world needs.

‘Spider-Man: Into the Spider-Verse’ is the best Spider-Man movie ever made, and commercial and critical success confirms this notion. Moreover, ‘Into the Spider-Verse’ is an animated masterpiece that started a trend of great animations in the years that came.

2. ‘Spider-Man: Across the Spider-Verse’ (2023)

All 3 Miles Morales Spider-Man Movies in Order

In ‘Across the Spider-Verse,’ Gwen Stacy, also known as Spider-Woman, reflects on her past before meeting Miles Morales. She was best friends with Peter Parker, who transformed into a reptilian creature after drinking a formula. In a battle, Gwen accidentally kills Peter without realizing his true identity.

Captain Stacy, Gwen’s father, suspected her of the murder. Meanwhile, a Renaissance version of Vulture attacked Gwen, and she was saved by Spider-Man 2099, Miguel O’Hara , who eventually recruited her into a group of Spider-People defending the multiverse . When Captain Stacy tried to arrest Gwen, she revealed her identity, but he still pursued her. Miguel and Jessica Drew’s Spider-Woman saved Gwen and took her to their headquarters.

All 31 ‘Spider-Man: Across the Spider-Verse’ Easter Eggs Explained

In Miles Morales’ universe , more than a year had passed since the ‘Into the Spider-Verse events.’ Miles continued to develop as a hero, balancing his responsibilities to his family and the people of Brooklyn. He encountered a new villain called the Spot , who had the ability to create warp gates using spots on his body. Miles defeated the Spot but realized he had escaped while he was at his parent-teacher conference. Miles rushed to confront the Spot in front of his father, who was unaware of his secret identity as Spider-Man.

3. Spider-Man: Beyond the Spider-Verse (2024)

All 3 Miles Morales Spider-Man Movies in Order

Finally, we have another upcoming animated featured movie in the Spider-Verse universe, this time named ‘Spider-Man: Beyond the Spider-Verse.’ We know little about this movie since it comes after ‘Across the Spider-Verse’ and may be released on March 28, 2024.

This movie is actually considered as part two of the ‘Across the Spider-Verse,’ with writers Lord and Miller confirming this in 2021. The reasoning behind the “two-part movie” is that they felt the content planned would be too much for one movie; that’s why ‘Beyond the Spider-Verse’ will be released at the beginning of 2024.

Nevertheless, the plot is unknown currently.

Honorable mentions

1. spider-man: homecoming (2017).

All 3 Miles Morales Spider-Man Movies in Order

The first honorable mention is set in the ‘Spider-Man: Homecoming movie.’ The first Spider-Man movie starring Tom Holland sees Peter Parker after his appearance in the ‘Captain America: The Civil War’ movie, where the superhero supported Iron Man.

Homecoming is considered extremely good among the MCU fans, and it served some great plot, characterization, and easter eggs. In the movie, Peter faces his first real nemesis in Vulture, but he also meets another comic book villain, Prowler.

In ‘Homecoming,’ Peter stumbles upon a meeting between the criminals and saves Aaron’s life. To thank him, Aaron Davis struck a deal with Spider-Man to ensure the alien weapons were not on the streets.

Of course, during the interaction, Aaron mentions his nephew living in the neighborhood, suggesting that Miles Morales indeed exists in the MCU. This is the only easter egg of Miles Morales in the Homecoming movie, but it is cool to mention it.

2. Spider-Man: No Way Home (2021)

All 3 Miles Morales Spider-Man Movies in Order

This honorable mention isn’t a point-blank easter egg or reference to another character but worth mentioning in this context. No Way Home sees Peter Parker and Stephen Strange wreaking havoc, almost breaking the Multiverse with their shenanigans and causing Spider-Men from other dimensions to come to MCU.

With Tobey Maguire and Andrew Garfield came their enemies, Sinister Six, and among them Electro. He is from the ‘Amazing Spider-Man’ universe, and when he arrives and unmasks one of the Spider-Men, he is instantly disappointed to see another Caucasian under the mask. He continues, “There’s gotta be a black Spider-Man somewhere out there.” unknowingly referencing Miles Morales.

Cool reference, a small joke by Jamie Foxx’s Electro, and recognition of Miles Morales’ importance in the Marvel Universe.

Where to watch Miles Morales movies?

For years, we could watch animated Spider-Man movies on Netflix, specifically Into the Spider-Verse, but because of the “pay 1 window,” that suggests that the streaming platform will have access to the first look at Sony’s future projects.

Disney also signed a deal with Sony, named “pay 2 window ,” suggesting that future projects will eventually be available on the streaming platforms after Netflix’s deal “ends.” 

‘Into the Spider-Verse’ movie is available on Disney+ and Hulu platforms, while ‘Across the Spider-Verse’ and future Miles Morales movies will be available on Netflix for at least the first 18 months. Netflix also gained access to co-produce Sony’s future direct-to-streaming rights. Disney will gain rights to all Spider-Man movies after some time passes.

Will there be future Miles Morales movies?

Besides ‘Beyond the Spider-Verse,’ there will definitely be more Miles Morales projects. Sony announced the potential spin-off movies, and ‘Across the Spider-Verse’ will be the “starting point” for those projects.

Gwen Stacy’s spin-off movie with Cindy Moon/Silk and Jessica Drew/Spider-Woman will likely happen in the next two years, while the Spider-Ham focused movie was also hinted at.

When it comes to Miles Morales in the MCU after Marvel and Sony made a deal regarding Spider-Man in the Marvel Cinematic Universe, the rumors of Miles Morales got more frequent. However, Kevin Feige dismissed the rumors of the character appearing in the MCU for the foreseeable future but confirmed that Miles Morales indeed does exist in the MCU.

The producer of the MCU also said that he could not wait for Miles to arrive in the MCU, but not at this moment. Nevertheless, Miles Morales has a future in any universe since he has been one of the best additions to Marvel in many years.

Have something to add? Let us know in the comments below!

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Dora Naletilic is a writer who started reading comics during high school after discovering the Telltale game The Wolf Among Us, which led her to read Fables, a comic book series published by DC Comics' Vertigo. Her fascination with narration techniques, unique storytelling, and the emergence of the Marvel Cinematic Universe prompted her to check out Marvel and DC comics. Dora's favorite Marvel superhero groups are X-Men and The Fantastic Four, while DC's Nightwing and Batman take first place as all-time favorite characters. Dora is currently on the high from rereading Matt Fraction's Hawkeye, Spider-Gwen: Most Wanted, and Tom Taylor's Dark Knights of Steel, and with the hope of finally checking out Grant Morrison's All-Star Superman.

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‘spider-man: across the spider-verse’ star shameik moore apologizes for reaction to oscars loss.

The voice actor admitted to being a "sore loser" after the film lost to Hayao Miyazaki's 'The Boy and the Heron.'

By Tatiana Tenreyro

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Shameik Moore

Spider-Man: Across the Spider-Verse star Shameik Moore has apologized for his reaction to the film’s loss at the 2024 Oscars .

On Sunday night, the Into the Spider-Verse sequel lost to Hayao Miyazaki’s The Boy and the Heron in the best animated feature film category. Moore, who voices Miles Morales (aka Spider-Man) in the franchise, immediately took to X (formerly known as Twitter), where he posted that the film was “ robbed .”

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Minutes after seeing the replies, Moore admitted he agreed he should’ve been more graceful on social media. “Respect to the winners. It’s true, I’m definitely a sore loser, but we didn’t lose, Spiderverse has impacted ALOT of lives, we may not have been acknowledged tonight but life goes on, and BEYOND….. yea get ready,” he wrote in a follow-up post .

One fan pointed out that Across the Spider-Verse co-writer Christopher Miller and producer had the proper reaction. Miller had tweeted, “Well, if you’re gonna lose, might as well lose to the GOAT.” Moore then quote-tweeted the fan’s comment , apologizing for his actions: “Your [sic] right, honestly the whole Spiderverse team are such good sports. Very professional and I’m excited to see what comes of this. I’m young, and a fighter, so forgive my nature. Congrats to the winners.”

While Across the Spider-Verse went home empty-handed, the first film in the animated franchise won in the Oscars category in 2019.

Moore has not yet responded to The Hollywood Reporter ‘s request for comment.

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Every Live-Action Spider-Man Movie Is Returning to Theaters

All of the Spider-Man films starring Tobey Maguire, Andrew Garfield and Tom Holland are heading back to the big screen.

The live-action Spider-Man movies are getting more time to shine on the big screen.

Per the Cinemark listings, it's come to light that Sam Raimi's Spider-Man trilogy, the Amazing Spider-Man films, and Tom Holland's MCU trilogy will all be coming back to theaters in 2024. The movies returning to theaters is a part of Sony's celebration of the 100th anniversary of Columbia Pictures. They will be popping back up in theaters in the same order they were originally released, beginning in April and going through June.

Marvel's Spider-Man 2 Updates Tobey Maguire Suit

The release schedule for the movies includes Spider-Man (2002) on April 15 ; Spider-Man 2 (2004) on April 22 ; Spider-Man 3 (2007) on April 29 ; The Amazing Spider-Man (2012) on May 6 ; The Amazing Spider-Man 2 (2012) on May 13 ; Spider-Man: Homecoming (2017) on May 20 ; Spider-Man: Far From Home (2019) on May 27 ; and Spider-Man: No Way Home (2021) on June 3. At this time, there are no indications that the animated Spider-Verse films will also be re-released.

What Will Be the Next Live-Action Spider-Man Movie?

The movies from the past are coming to theaters at a time when the future of Spider-Man on the big screen isn't entirely clear. It's expected that Tom Holland will return for another movie, as Holland teased last November that there were active conversations happening with Sony about coming back for a new film. He suggested that the hold-up is due to waiting for the right idea to be presented for his return, as he wants the follow-up to No Way Home to be a movie that feels worthy.

EXCLUSIVE: Spider-Man and Mary Jane Deal With the Effects of The Fall of X

"I feel very protective over Spider-Man," Holland told Collider . "I feel very, very lucky that we were able to work on a franchise that got better with each movie, that got more successful with each movie, which I think is really rare, and I want to protect his legacy. So, I won't make another one for the sake of making another one. It will have to be worth the while of the character."

Meanwhile, there have been reports of a live-action film centered on Miles Morales happening as part of the Marvel Cinematic Universe. Franchise producer Amy Pascal has suggested that the film will happen , but not until after work has finished on the planned fourth film starring Tom Holland, as well as the next animated sequel, Spider-Man: Beyond the Spider-Verse . Because neither of these films has a set release date, it could be a while before the Miles Morales movie sees the light of day.

Source: Cinemark

Since his first appearance in 1962, Spider-Man has almost always been Marvel Comics' most popular character. Known for his sense of humor and bad luck as well as his selflessness and super-strength, Spider-Man has helmed countless titles over the years, Spider-Man's most prominent comics include The Amazing Spider-Man, Web of Spider-Man, and Peter Parker, The Spectacular Spider-Man. Peter Parker was the original Spider-Man but the Spider-Verse has become an important part of the character's lore in recent years. Multiversal and future Spider-Men include Miles Morales, Spider-Gwen, Miguel O'Hara and Peter Porker, the Spectacular Spider-Ham. This provided the premise for the popular Spider-Verse film trilogy, which makes Miles its primary hero. Spider-Man is also the basis of several live-action film franchises and numerous animated television series. He is one of the most recognizable characters in the world. While he's changed a lot over the decades, Steve Ditko and Stan Lee gave the world an unforgettable hero when they created Spider-Man.

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‘Spider-Verse’ Star Shameik Moore Posted ‘Robbed’ After Film’s Oscar Loss, Then Admitted ‘I’m Definitely a Sore Loser’ and Asked for Forgiveness

By Zack Sharf

Digital News Director

  • Michael Keaton Watched ‘Beetlejuice 2’ and ‘Wasn’t Ready’ for How Emotional It Gets, Says a ‘Couple of Little Tweaks’ Are Being Made: ‘This Thing Is Great’ 8 hours ago
  • Al Pacino Addresses Oscars ‘Controversy’ Over Not Naming Best Picture Nominees: It Was ‘a Choice By Producers’ and ‘I Empathize With Those Slighted By This Oversight’ 8 hours ago
  • ‘Spider-Verse’ Star Shameik Moore Posted ‘Robbed’ After Film’s Oscar Loss, Then Admitted ‘I’m Definitely a Sore Loser’ and Asked for Forgiveness 11 hours ago

Spider-Man: Across the Spider-Verse

“Spider-Verse” star Shameik Moore found himself in hot water on X (formerly Twitter) during the 2024 Oscars when he seemingly reacted to “ Spider-Man: Across the Spider-Verse ” losing the Academy Award for best animated feature to Hayao Miyazaki’s “The Boy and the Heron” by posting a one word reaction: “Robbed.” Many fans were quick to criticize Moore, who voices Miles Morales in the animated franchise, and pointed out that Miyazaki is a master of animation who directed an equally acclaimed movie.

Moore was teasing the upcoming “Spider-Man: Beyond the Spider-Verse,” which will wrap up the animated trilogy. One X follower pointed out that “Spider-Verse” co-writer and producer Chris Miller had a much better reaction to the film’s Oscar loss.

“Well, if you’re gonna lose, might as well lose to the GOAT,” Miller posted on his own X account.

“Your [sic] right, honestly the whole ‘Spider-Verse’ team are such good sports,” Moore said in response to the fan, who observed that Miller’s post is “how you respond to losing.”

Moore added, “Very professional and I’m excited to see what comes of this. I’m young, and a fighter, so forgive my nature. Congrats to the winners.”

The first movie in the “Spider-Verse” franchise, 2018’s “Spider-Man: Into the Spider-Verse,” won the Oscar for animated feature. The sequel, released to critical acclaim last year and a box office success with $690 million worldwide, was considered a frontrunner for this year’s animated feature Oscar, but Miyazaki’s “The Boy and the Heron” was always considered another strong contender. Miyazaki won several critics prizes for the movie and was awarded the animated feature trophy at the BAFTA Film Awards and the Golden Globes.

Miyazaki has now won two Academy Awards for animated feature. His first Oscar came for “Spirited Away.” He is also the recipient of an Honorary Oscar. At age 83 years old, he became the oldest director to receive the Oscar for animated feature with “The Boy and the Heron.”

*robbed — Shameik Moore (@shameikmoore) March 11, 2024
Respect to the winners. It’s true, I’m definitely a sore loser, but we didn’t lose, Spiderverse has impacted ALOT of lives, we may not have been acknowledged tonight but life goes on, and BEYOND….. yea get ready 😤 — Shameik Moore (@shameikmoore) March 11, 2024
Your right, honestly the whole Spiderverse team are such good sports. Very professional and I’m excited to see what comes of this. I’m young, and a fighter, so forgive my nature. Congrats to the winners https://t.co/b4IRRrl9h4 — Shameik Moore (@shameikmoore) March 11, 2024

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But Why Tho?

REVIEW: ‘Miles Morales: Spider-Man’ #16

Miles Morales: Spider-Man #16 is published by Marvel Comics, written by Cody Ziglar, with art by Federico Vicentini and Federica Mancin, colors by Bryan Valenza, and letters by Cory Petit . This is part of the Gang War event. Miles Morales and his team face off against Hobgoblin and Rabble.

The issue features intense action in multiple locations at the same time. Miles’ tie-in to Gang War has taken him from one battle to another, but they have all been working for Hobgoblin and armed by Rabble. Now Spider-Man has the chance to shut down his section of the city. The adrenaline and the pace never stop for a second, splitting the fights into sections to maintain a form of structure. Inside the warehouse are Miles, Ms Marvel, and Gust. Outside, Scorpion, Starling, and Shift face a group of minor villains acting like hired guns.

This many characters result in brilliant chaos. The issue is never difficult to follow despite the frantic pace and the fighting that is spread out. Links and comments to previous issues of Miles Morales: Spider-Man are welcome and make this connection to the Gang War crossover feel like part of a long-term plan, but they aren’t necessary to those jumping on over these coinciding issues. The action and the energy are the pulsating heart of this comic. The ending is explosive and satisfying at the same time but leaves numerous loose ends to be tied up across both Spider-Man books.

The number of characters that end up within Miles Morales: Spider-Man #16 is ridiculous. So many costumed heroes and villains are fighting it out for money, power, and revenge. And yet, within that foray are strands of a great story and specific voices. The story’s main characters are given the chance to talk and drive the book forward. Miles and Scorpion are the loudest, leading the respective groups.

Ziglar ensures that the personalities of the characters are not silenced or squeezed by the lack of space. When someone speaks, it matters. Ms Marvel and Miles work superbly as a team, but it was slightly disappointing not to get a closing conversation between the best friends. They have both been through so much, but the pacing of the comic would not allow for that intimacy.

The villains are also fantastically written. At the head of the table are Hobgoblin and Rabble. They may be partners, but they have their own masters and agendas. Rabble is not only out for revenge against Spider-Man, but she is serving Madame Masque in the wider Gang War. Hobgoblin is solely thinking of himself. They are both extremely noisy and arrogant, loving the sounds of their own voice. The loyalty between the villains is something that becomes much more important as the issue progresses.

The art embraces the carnage, as that is what Vicentini and Macin appear to thrive on. There are characters everywhere, and the coordination it takes to place them in the same panels together is a superhuman feat in itself. What is different about these characters is that they are completely different shapes and sizes. Spider-Man is small and lithe. Scorpion is huge and comes with a long tail that is used as a weapon. Ms Marvel is constantly resizing and elongating.

The characters are given the space to exist, but space is fascinating within a Vicentini comic in particular. Figures are always moving fast and blurry and can often be incredibly close to the “camera.” Backgrounds are always filled with what can only be described as stuff or debris. The more characters included the more carnage there is going to be.

The colors are terrific even when many of the characters are penned in and crammed against one another. The depth within the shades themselves is remarkable, helping to display shapes and textures within the costumes. The lettering is superb, always staying focused and clear to read.

Miles Morales: Spider-Man #16 enjoys its exuberance. There is so much going on within this comic. The book is devoted to keeping the speed and the energy high. But what must be commended across the entire creative team is the fact that pace never damages the detail. Whether it is in the dialogue or in the drawings, the book is extremely intricate and layered. It’s easily the best tie-in for Gang War, as it is just an extension of the current ongoing for Miles. It’s not a separate creative team; it’s those who know him and what he has been going through.

Miles Morales: Spider-Man #16 is available where comics are sold.

The post REVIEW: ‘Miles Morales: Spider-Man’ #16 appeared first on But Why Tho? .

Miles Morales: Spider-Man #16

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Spider-Verse Actor Shameik Moore Admits He's a 'Sore Loser' After Saying Film Was 'Robbed' at Oscars 2024

'Spider-Man: Across the Spider-Verse' star Shameik Moore spoke out after the film didn't win Best Animated Film

Jamie McCarthy/WireImage); Sony Pictures Releasing / Marvel Entertainment / Courtesy Everett Collection

Shameik Moore , the lead voice actor in Spider-Man: Across the Spider-Verse , called himself a "sore loser" after the film didn't take home the Academy Award for Best Animated Feature.

At the 2024 Oscars on Sunday, the animated sequel was nominated alongside Elemental, Nimona, Robot Dreams and the winner , The Boy and the Heron .

On X (formerly known as Twitter) Sunday, Moore, 28, wrote "robbed," seemingly referring to his film not claiming the prize. (Back in 2019, the first movie, Spider-Man: Into the Spider-Verse , won the category at the Oscars.)

In a followup post, the actor, who voices Miles Morales in the film, wrote, "Respect to the winners. It’s true, I’m definitely a sore loser, but we didn’t lose, Spiderverse has impacted ALOT of lives, we may not have been acknowledged tonight but life goes on, and BEYOND….. yea get ready."

One of the film's writers, Christopher Miller, reacted to the outcome on Instagram, writing , "So proud of our team. You created a new cinematic language whose impact will be felt culturally and within the industry for years to come. And if you’re gonna lose, might as well lose to the GOAT."

That "greatest of all time" reference is to Hayao Miyazaki, the Japanese director behind The Boy and the Heron and other beloved Studio Ghibli films, like 2001's Spirited Away, which also won Best Animated Film .

Miyazaki, who was awarded an Honorary Oscar in 2014, was not in attendance to accept the win in person on Sunday.

Studio Ghibli

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When one X user tagged Moore with Miller's statement and told the actor "this is how you respond to losing," Moore wrote back in response: "Your right, honestly the whole Spiderverse team are such good sports. Very professional and I’m excited to see what comes of this. I’m young, and a fighter, so forgive my nature. Congrats to the winners."

Across the Spider-Verse was a box office hit and also starred Hailee Steinfeld, Brian Tyree Henry, Jake Johnson, Oscar Isaac, Issa Rae and more. The ending sets up another sequel, titled Spider-Man: Beyond the Spider-Verse .

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  29. Spider-Verse Actor Says Film Was 'Robbed' at Oscars 2024

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