to understand well Spider-Man: Crossing the Multiverse, by Joaquim Dos Santos, Kemp Powers and Justin Thompson, we must delve into the sense of reality. At least, as the plot proposes. From its first scene —which fits neatly with the last of its predecessor—, the film presents a wild journey through the world of spider-man. Both of the character and his experience, and of everything that his narrative can offer.
What begins as a mystery is actually a way to delve into the truth. The script, by Phil Lord, Christopher Miller and Dave Callaham, moves away from the idea of an adventure based on a confrontation to answer a question. What would happen if the nemesis had the power to erase the smallest vestige of the existence of the hero he is facing? The question becomes more pertinent when the plot addresses another of its fundamental points. No Spider-Man can live without the others who inhabit the endless replay of the multiverse. So the life of each of them is precious and important.
Furthermore, each of them strikes a delicate balance that pushes all versions of New York’s friendly neighbor to search for the one gap in reality that could destroy them. Spider-Man: Crossing the Multiverse, which in its first part relates the best and fastest that its conflict can, is not interested in adventure. Rather, she is to the extent that she fits into the great spider web formed by the 240 versions of the superhero shown in the film.
Spider-Man: Crossing the Multiverse
The movie Spider-Man: Crossing the Multiverse is a visual adventure destined to make history. Not only for its impeccable staging of alternate realities —already a technical achievement in itself—, but for its careful script, which unites up to ten stories on the same stage. Bigger and faster than any other superhero movie to date, it’s a long shot. How to tell a story that reinvents itself at each turn of the plot and requires a different animation for each character? In general, it achieves its goal, but towards the end it loses its pulse in favor of the staging. All in all, it remains the most astonishing visual experiment seen in the world of animation in the last decade, and a technological achievement that will hardly be equaled or surpassed anytime soon.
Spider-Man: Crossing the Multiversea hero in all its dimensions
Spider-Man: Crossing the Multiverse It is a careful and well-constructed framework of a story that unfolds into twenty or thirty parts during its first hour. He does not do it on a whim, nor does he do it to amaze the audience. Actually, it shows the Marvel Publishing Multiverse at a level, breadth and detail hitherto unknown in cinema.
Beyond being a plot and visual experiment, something the film is also to the extent that each type of animation is linked to a character and its context. In addition, it is a narrative that covers the details of spider-man as figure. A tribute, on a staggering scale, to his heroic purpose and the power manifested through that element.
If in the first film the plot focused on spider men and women united by a common story, its sequel addresses potential destiny. Each spider-man -from Jessica Drew even luxury secondaries like Jefferson Davis— creates a structure towards what is to come. They all depend, to a greater or lesser extent, on the fact that each one of them stays alive.
The multiverse is, finally, an infinite space where each possibility embodies a different story. Spider-Man: Crossing the Multiverse he does not attempt to relate them all at once—although he narrates the most important ones with dazzling skill—but he does record their existence. Each spider-man, throughout the world, in all times, in the small variations of his personal story, has a goal to achieve. An intrinsic goodness that manifests itself with a colossal solidarity that the feature film manages to portray.
Power comes with the conviction of good
The plot loses the quality of emotional journey that accompanied Miles (Shameik Moore) in Spider-Man: A New Universe. But in return, both the hero and the story gain an unknown complexity that takes the sequel to a radically new dimension. At the same time, to the field of narrative and visual innovation. It’s not just about the journey that the character will begin—almost from the first moment—through all the possibilities of himself. Also of the recreation of his infinite lives and his understanding of the richness of love, solidarity and time.
From the decision of spider brooklyn to accompany Gwen Stacy (Hailee Steinfeld) into the unknown, Spider-Man: Crossing the Multiverse explore a curious concept. Power manifests itself in various and bewildering ways. Not always good in the traditional sense, but only rarely really evil.
Miles will go from his quiet life as a student to be part of a complex structure that is linked to a whole story. no spider-man he is alone, has been or will be. The mystery of his life—overlapping accounts of failed experiments, radioactive bugs, and deaths of family members—lead to a single scenario. All the heroes of the different dimensions support each other, whether or not they are aware of the phenomenon.
So the mission of which Gwen is the flag bearer is one. protect Thousands of a villain with knowledge of the use of time and the reinvention of the tangible. The question about how the kingdom of alternative dimensions works is settled from the first scenes of Spider-Man: Crossing the Multiverse. The multiverse opens up in all its grandeur and, despite the fact that the narrative falls short —and is rushed—, the visual section makes the film a spectacle that is difficult to forget.
Spider-Man: Crossing the Multiverse it’s an amazing show
The film is not only an animated experience that takes the viewer’s imagination to new spaces. We must also consider how complicated and labyrinthine its staging on screen. Each of the Spider-Mans has their own visual space, which implies drawings, colors and a type of finish in detail and movement that is different from the rest.
The argument is not satisfied with telling a different story, separated from the rest and told in fast, ingenious and well-constructed explanatory dialogues. In addition, it manages to link the life of each of the characters to a new chromatic and movement experience.
What makes Spider-Man: Crossing the Multiverse in, perhaps, the most complicated and best-constructed animated film in cinema. At least, in the closest to being. A technical achievement that accompanies a story that unfolds over and over again. What makes it always new, amazing, painful and, in its ambiguous ending, moving.
Evil is a risk, even in the multiverse
He Michael O’Hara by Oscar Isaac is the anomaly in this army of well-intentioned heroes who will face each other in all possible spaces. Constructed in a very similar way to the comic from which it comes – which presents a man destroyed by pain – the character arrives at the cinema in the midst of rancor. Although this will not be the only source of evil that will manifest itself as the movie progresses.
From vulture —a version very unlike the one played by Michael Keaton— until spots, twisted and tenacious. Even a brief announcement of an expected symbiote cameo. Everything comes together, mixes and becomes more bewildering as the plot of Spider-Man: Crossing the Multiverse keep it up.
However, perhaps the biggest problem with the film is that its need to reach its climactic end makes it seem rushed in its final minutes. But the accelerated rhythm, which even announces links with the Marvel Cinematic Universeis nothing more than part of his power.
Spider-Man: Crossing the Multiverse it is coherent despite its fragmented structure into dozens of different parts. The pieces fit together so skillfully that its extraordinary finale moves you to the brink of tears. Nothing will be the same in superhero movies after this experience. Neither in animated movies. A milestone has just been born and it will be difficult to surpass it.