If the core theme of 2018’s animated masterpiece, ‘Spider-Man: Into the Spider-Verse’, was “anyone can be under the mask”, its sequel, and in some ways superior work, ‘Spider-Man: Across the Spider-Verse’, interrogates what it really means to be under the mask. ‘Into’ introduced the idea of multi-dimensional spider-themed heroes linked by common tragedy and the drive that “with great power comes great responsibility,” through its mantle-passing from Peter Parker to Miles Morales. With ‘Across’, Miles has been operating on his own, but gets embroiled in an epic dimension-spanning story that questions the very foundation of the hero and the tragedies that make up the character’s essence.

‘Across’ actually opens not on Miles, but with an extended sequence featuring Gwen Stacy’s Spider-Woman. Gwen’s dimension is presented in a dripping, water-colored painted tableau that continues the convention-pushing aesthetic of the first film. In this world, Peter is Gwen’s tragic loss that spurs on her heroics, and she’s challenged in her alter ego by her police captain father. It’s a beautiful presentation in both visuals and character development, while also serving to drive the plot. This opening ends with Hailee Steinfeld’s Gwen joining up with a new inter-dimensional spider-duo, Issa Rae’s Jessica Drew, a visibly pregnant cycle-riding badass, and an alternate future hailing Miguel O’Hara (gruffly voiced by Oscar Isaac), commonly known to fans as Spider-Man 2099. Apparently these two serve as the leaders of a group of Spider-beings on a mission to preserve parallel worlds threatened by incursions of anomalies from other dimensions. One of these is the gloriously rendered Vulture from a paper-based Renaissance world featured in this first of many incredibly rendered, insanely kinetic action scenes.

The movie then moves back to Miles’ Brooklyn to catch the audience up on his various trials and tribulations. He’s been in the vigilante game for about a year now, having gone through a growth spurt, but not quite mature enough to share his secret with his loving parents (again voiced wonderfully by Bryan Tyree Henry and Luna Lauren Velez). He has a run-in with a two-bit “villain of the week”, The Spot (Jason Schwartzman giving his all), that, like all of his extra-curricular activities as a friendly neighborhood hero causes him to miss an important appointment. It’s all familiar territory for a ‘Spider-Man’ film/story, but imagined here with the most incredible visual palette that not only evokes the feeling of reading a comic, but across these two films has developed into its own unique frenetic style.

It’s immediately apparent that the creative forces behind ‘Across the Spider-Verse’ have taken the utmost care and consideration into every line, frame, and digital art stroke. Returning writer/producers Phil Lord and Christopher Miller, along with a talented cadre infuse this production with more soul, nuance, and artistic vision than most live action superhero presentations. The film isn’t afraid to slow down and luxuriate in its character interactions. Like the best sequels, it takes what was revolutionary about its predecessor and amps it up, while also building upon the original characters and introducing new compelling ones.

Without disclosing the intricately built and surprising developments of the narrative, it can be said that ‘Across’ will challenge the very notion of the building blocks of the Spider-Man mythos. Super fans will be delighted in the deep cut references to comics lore and new fans will come along for the ride, losing themselves in the compelling story and gorgeous visuals. All other superhero movies should be on notice, this is how you do this . . .

Directed By: Joaquim Dos Santos, Kemp Powers, & Justin K. Thompson

Written By: Phil Lord, Christopher Miller, & Dave Callaham

Running Time: 140 min.

Rated: PG

* * * * (out of 4 stars) -OR- A