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Criticism of ‘Spider-Man: Crossing the Multiverse’, a spectacular new adventure by Miles Morales at the level of the first

‘Spider-Man: Crossing the Multiverse’, sequel to the successful ‘Spider-Man: A New Universe’, by Kemp Powers, Justin K. Thompson and Joaquim Dos Santos.

    The symbiosis between the latest mutations of the postmodern story and quantum physics based on the theories of Hugh Everett caused that, in 2018, ‘Spider-man: a new universe’ (Persichetti, Ramsey, Rothman), following a line strictly faithful to what has already been developed in the Marvel comics, will blow up the prejudices of both new viewers and longtime fans of the universe of Stan Lee and Steve Ditko, those who did not even dare to dream of seeing the achievements before only transferred to the big screen reserved for the magic of cartoons. To his narrative successes and his effervescent sense of humor, a formal triumph had to be added, through a prodigious animation that imitated the four-color process of the classic comic, causing a sensory journey that was as lysergic as it was stylized and harmonious. The result was a breath of fresh air both for superheroic action movies and for animation that is not strictly for children (nor strictly for adults), a gift for fans of wall-crawlers and confirmation that we could all become, or in fact always we had been, a version of the superhero, or at least, its corresponding fractal modality in the appropriate dimension. Wrongly said and soon, a milestone in contemporary pop culture.

    Five years later comes this long-awaited continuation that is presented as a amplification, based more on the enhancement than on the extension of what was already an infinite and unlimited universe. The shape, thanks to the unstoppable innovation of new artistic techniques, further affects the imitation of the texture of the comic until it infects the structure and the purely narrative resources, with an inspired use of color, of the impressionist palette related to the character. from Spider-Gwen to the neofuturist illustrations of Syd Mead. In the center of the hurricane, the character of Miles Morales continues, who appeared for the first time in the publisher’s universe in 2011, and between plot twists, magnificent action scenes and a cathedral barrage of referential jokes (which include, among nods to series television shows and video games and tangential or half-buried characters/versions, a fun reference to ‘The Lego Movie’ from 2014, the work of co-writers and co-producers Phil Lord and Chris Miller; and, especially, the stellar presence of the Indian version of Spiderman, Pavit Prabhakar, and Spider-Punk created by Dan Slott and Oliver Coipel) nurtures and builds an odyssey as spectacular as it is intimate around the light and dark times of adolescence as a floating booth between states and the geyser of identity conflict: the pain of loss, the recognition of one’s own body, the problem of class and environment, unrequited or impossible love, the first disappointments and disagreements, always enlivened by the frenetic speed of relentless discovery

    'spiderman, crossing the multiverse'

    More ambitious than its predecessor, sometimes cleanly beautiful in its millimeter entropy, it is also more excessive and variegated, and therefore almost exhausting, something that will weigh only partially on those unfamiliar with the proposal. In any case, the best thing to do is hold on to the armrests and let yourself be swept away by the overwhelming energy of this abracadabrant roller coaster, which ends up being, with respect to the world of the cartoon and specifically the universe of Spider-Man, the same as ‘Client’. dead does not pay’ (Reiner, 1982) to the not to go classic, ´The last great hero´ (McTiernan, 1993) to the microcosm of the action movie manly or ‘Stay tuned’ (Hyams, 1992) to the television hodgepodge. We are all invited; the spider fever continues.

    For lovers of mutant and hallucinatory cinema, also viscerally sentimental

    The best: his formal virtuosity and contagious enthusiasm leave you wanting more Spider-verse.

    The worst: the insistence on paternal and maternal conflicts and the easy resource of the cliffhanger.


    Address: Joaquim Dos Santos, Kemp Powers, Justin K. Thompson Country: USA Year: 2023 Release date: 2–7-2023 Gender: Animation Script: Phil Lord, Christopher Miller, Dave Callaham Duration: 140 minutes

    Synopsis: Miles Morales and Gwen Stacy meet again when new rifts open up in the multiverse. Obviously, a dangerous villain is trying to do his thing, but a large battalion of Spider-Men will unite to face him.

    'spiderman, crossing the multiverse'

    Source: Fotogramas

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