Both stories are, in typical Spider-Man fashion, shaded in the tragedy of their respective, personal losses. This time, viewers aren’t just invited to see the continuation of Miles Morales’ (Shameik Moore, The Get Down) story, but also Gwen Stacy’s (Hailee Steinfeld, Hawkeye). The film takes the multi-perspective structure that Into the Spider-Verse toyed around with and fully adopts it. Like all great sequels, Spider-Man: Across the Spider-Verse builds on the tricks of its predecessor. To put that another way: It’s been a long time since a superhero movie has felt this alive, this vibrant, and this vital. Not since Into the Spider-Verse has a big-screen comic book adventure felt this interested in playing with the actual medium of cinema. It’s a film that invites multiple rewatches not just because of the intricacies of its plot and the depth of its characters, but because of all of the little details and secrets featured at the very edges of every one of its immaculately drawn frames, which demand to be noticed and seen. It’s a superhero blockbuster that experiments with the form of animation in such consistently awe-inspiring ways that it’s impossible not to be overwhelmed by the sheer scope of the artistry on display throughout its admittedly long 136-minute runtime. The film is an atomic, rainbow-colored blast of pure wonder. But none of the Marvel movies or TV shows that have come before it have been able to capture their viewers’ attention or ignite their imaginations quite like Spider-Man: Across the Spider-Verse does.

In a time when multiversal tales are all the rage, the film’s story feels unavoidably similar at times to those told in recent titles like Doctor Strange in the Multiverse of Madness and Spider-Man: No Way Home. It’s not Across the Spider-Verse’s plot that makes it all that unique, either.

Even its predecessor, 2018’s Spider-Man: Into the Spider-Verse, seems a bit quaint in comparison to the new film. You’ve never seen a movie quite like Spider-Man: Across the Spider-Verse.

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