I want cartoons! Get me cartoons about Spider-Man!

Going ‘Across the Spider-Verse,’ PLUS thoughts on ‘Still’ and ‘I Think You Should Leave’

So, Spider-Man: Across the Spider-Verse is just as great as you’ve heard. 

You can read my review over at CinemaNerdz, but I want to use this space to gush a bit more about Spidey’s latest animated adventure and how I think what’s being done in this series is the greatest leap forward in superhero filmmaking that we’ve seen. 

When Spider-Man: Into the Spider-Verse was released in 2018, I rolled my eyes and didn’t even plan to see it. It seemed like Sony’s latest attempt to water down the Spider-Man brand, given that Marvel had integrated Peter Parker into its fold and the studio needed to exploit what it owned. I’ll confess there was probably a bit of the “animated films aren’t real films” condescension that sometimes creeps in (even though I had no problem putting Pixar films atop my year-end lists in 2008 and 2009). I finally gave in and went to see it because the reviews were good and I had a 6-year-old son who I needed to get out of the house one afternoon. 

The rest is history. I sat in the theater with my jaw on the floor, astonished at the mastery on display. Visually, I’d seen nothing like it; this was an animated movie that used every tool in its arsenal to dazzle audiences. It was full of jokes and rapid-fire sight gags that had the same wit and energy as The Lego Movie, directed by Spider-Verse producers Phil Lord and Chris Miller. But more than that, it was heartfelt, with an understanding of why Spider-Man is such a beloved hero and an affection for Miles Morales, the hero who teaches us all that anyone can wear the mask. I called it the best film of 2018; a few years later, I included it among my best films of the decade. It is, quite simply, the best superhero movie ever made. 

Is Across the Spider-Verse as good? That’s hard to say. There are some things it does better than its predecessor. The animation pushes itself further, with each multiverse having its own unique look and tone (Gwen Stacy’s watercolor world is the most beautiful cinematic environment I’ve seen in a long time). It certainly has more Spider-Man than any other film, with hundreds of variants (not all in human form) crowding the screen. It’s more ambitious in scope, building on the themes from the first movie to examine the strict rules that we apply to our storytelling and fandom’s obsession with “canon.” And it maintains its focus on Miles and Gwen, creating three-dimensional characters who it’s just as much of a joy to watch in conversation as it is to watch engage in combat. 

But I’m not fully ready to commit to putting this above its predecessor just yet (I gave it 4.5/5 stars; the first movie got all 5). Part of that is just a matter of time; I have five years of affection for Into the Spider-Verse, and I don’t know whether I prefer the relatively more intimate focus of that film to the sprawling world we get in the sequel. Plus, Across the Spider-Verse is still half a movie; it ends on a cliffhanger and a “to be continued” note. Some audiences will be frustrated with (my daughter wasn’t aware a movie could be split into two parts and burst into tears). Personally, I think it fits with the movie’s comic book origins, and there’s enough of an arc for several of the characters to make this “ending” feel like the start of a new chapter. I didn’t leave frustrated; I just left wanting to know what happens next. 

So, we’ll say that Across the Spider-Verse, right now, is about as good as the first. Which still puts them both at the top of my list of the best superhero movies ever made. And, to be honest, I wonder if they’re ruining me for any live-action comic book movies (we’ll know when I see The Flash next week). 

I hope both Kevin Fiege and James Gunn are paying attention both to the quality on display in the Spider-Verse films as well as the audience reactions (the film had the second-highest opening of the year, just under The Super Mario Bros. Movie, meaning it opened bigger than the two Marvel movies that have opened this year). I hope they’re considering ways to incorporate animation into their cinematic universes beyond the direct-to-streaming options we’ve seen, because it’s a viable way to tell these stories. 

Scratch that, actually. It’s an essential way to tell these stories. One of the reasons the Spider-verse movies are considered the best Spider-Man movies is because animation allows the films to capture the dizzying, rapid movements, poses and angles of the comics with an energy that live action cannot. There are many reasons Spider-Man is so beloved, and while his underdog status and down-to-earth struggles can’t be overstated, the visual appeal is also part of it. Spidey just looks cool. His poses are iconic, his costume potentially the best in the medium. Animation allows storytellers the freedom to go big and go weird, celebrating the imagery of the comic books and exploring the strange nooks and crannies of lore that would be impossible in live-action. Scale isn’t an issue; cast is simply a matter of getting enough voices. Any setting is available, any world can be explored. And if you do it right, you can honor the artistic legacies of the people who created these heroes. 

I’d love to see more studios take big swings with animation. Someone on Twitter suggested just making X-Men animated films. Despite the fact that Marvel will never relegate its most popular and enduring characters to only animated, this is a fantastic idea. There are so many mutant characters and so many realities that crash up against each other, and animation would no longer limit your scope (think of a Dark Phoenix saga that actually could go as cosmic as the books). I’d love to see an animated Superman movie that pays homage to the Fleisher Studios shorts or a Batman movie that captures the appeal of the 1990s animated series. Animation has been dismissed as kid art for too long, and my hope is that the Spider-Verse movies whet audiences’ appetites for more adult-focused animation. 

But even if DC and Marvel keep their feet in live action, my main hope is they study what these films have done right and remember that these characters serve as more than vehicles to tell a never-ending story. The Spider-Verse movies are special because they celebrate Spider-Man in all of his different incarnations, and take time to explore all dimensions of the character, both the “canon events” that are part of every story and the silliest parts of that saga (hello, Peter Parkedcar). And I hope that we can see the MCU and DC films put character at the center of the stories. For too long, I’ve complained that these movies go too big and wide when they should be probing deeper. The Spider-Verse movies prove that those things don’t have to be mutually exclusive. 

Anyway, Spider-Man: Across the Spider-Verse is sitting atop my list for the best movie of 2023 so far. Go see it on a big, loud screen. 

Just a few other things to bring up before I close this off…

‘Still’ captures the charm and struggles of Michael J. Fox 

A few weeks back, I had the chance to watch Davis Guggenheim’s Still: A Michael J. Fox Movie on Apple TV +. The documentary is a 90-minute interview with the actor, who looks back on his career and how his life was altered when he was diagnosed with Parkinson’s. 

For those who didn’t grow up in the ‘80s, it’s almost hard to explain how popular Michael J. Fox was. My parents watched Family Ties every week, and it was solely for Alex P. Keaton. He followed it up with the iconic Back to the Future; I did my annual rewatch of that one a few months ago (it was one of the first 4K Blu-Rays I purchased) as was once again astonished how crucial he is to that film’s success. Marty McFly has to be cool enough to emulate but not smarmy; he’s smart, but not a smartass. He’s funny and charming and fantastic. 

I was a fan of Spin City, the show Fox was on when he announced his Parkinson’s diagnosis, but I don’t think I ever realized how young he was when he revealed his health issues (probably because during Spin City’s run, I was a teenager and 30 years old was still a long ways off; now, it’s about just as far in the rearview). While he wasn’t at the height of his fame – he was, in actuality, in the midst of a comeback – it’s shocking to think of how young that diagnosis came, just at a time when he was starting to grapple with the responsibilities that accompanied fame. 

The film uses clips from Fox’s work not only as illustration but to dramatize the hectic life he lived (the section regarding his insane shooting schedule for Family Ties and Back to the Future stressed me out). And watching his old performances, you’re reminded again just how much physicality and timing played into his performances. The film stresses that those were some of the first things affected by Parkinson’s. The film refuses to soft pedal or sentimentalize; Fox says that would be a less interesting story, and in many of the modern interviews, we can see the toll the disease takes on him, even as his charm and attitude continue to shine through. 

There’s not much more to say about it. As a fan of Michael J. Fox’s work, I found Still to be revealing and moving, and I think the actor’s honesty shines through. It’s worth a look, now on Apple TV +. 

I Think You Should Leave

The third season of Tim Robinson’s sketch comedy show I Think You Should Leave hit Netflix last week, and I consumed the entire season over the course of two sittings (it’s easy to do when all six episodes are only about 15 minutes long). 

I really don’t know how to review I Think You Should Leave; much of the joy is in watching how each sketch unfolds into new, surreal directions, and laughs are often elicited not so much by what is said by how Robinson’s voice contorts to say it. This season is just as weird as the first two, and there are already sketches that I’ve gone back to rewatch (the singing crooner gets a lot of references, but it’s Darmine Doggy Doors and the line “for 50 seconds I thought there was monsters on the world” that gets me each time). The show continues its commitment to sketches where people take their convictions and obsessions past the boundaries of sanity and public comfort, and most skits still end with Robinson or one of his co-stars yelling at the top of their lungs. 

Is it as good as the first two seasons? With I Think You Should Leave, I don’t know how to answer that. The first two seasons made me laugh on first viewing, but the true joy and appreciation came from repeat viewings, where certain gestures or turns of phrase suddenly jumped out to tickle my funny bone. I quite enjoyed this batch of episodes and have no doubt my appreciation will only grow on subsequent views. I guess we’ll have to see how this generates memes to see what truly sticks. But if you’re a fan, you’ve likely already watched this once or twice. If you’ve never watched I Think You Should Leave and like weird, surreal sketch comedy, you owe yourself to try it.  

Chris gotta eat 

Finally, before I sign off, just a bit of an announcement. You might have noticed on some recent posts that I’ve noted that, beginning July 1, certain posts will require a paid subscription to read. I’m about to take the next step in this site (after nearly three years) and turn on the opportunity for readers to be paid subscribers. 

What does this mean? 

First, it means some posts will be available only as extras to those who purchase a subscription. I’m not picky on this; there won’t be an elaborate tier system, and I think I set the suggested rate at a fair price. I’m not doing this to get rich. I’m doing this because writing takes a lot of time, and I don’t believe good content comes free. It also motivates me to write more if I have an audience I need to please. 

From the start, I’ve been committed to making sure that I always offer some content for free because I understand not everyone has the means to pay for every newsletter they read. So, there will still be at least one post a week that is free to all. I’m not quite sure what the rhythm would be. My thought is that digests like this and some reviews and podcasts would be paid content. Series like Franchise Friday or Summer of ‘93 would likely be among the free writing. But I’m still figuring that. 

In the end, I hope it means some more content, and good content. I’m enjoying the Summer of ‘93 series; there’s another entry coming this Friday, and I’m really excited about the one for the following week. Franchise Friday will return this month or next. I have some writing about film criticism itself I want to start to tackle, and I’d like to take some time for more personal entries every few Sundays. Plus, podcasts will return once summer schedules settle down. 

Like I said, this won’t be instituted until July 1; for the rest of June, everything is free! If at that time, you like the writing I’m providing and want to support it, it’s greatly appreciated. And if you already like the writing and want to get in on the ground floor, feel free to start your subscription today. 

Whether you subscribe, read, comment or share, I’m so thankful to have an audience that’s part of this conversation, and I look forward to taking it to the next level!