Review
A REAL WEBBED FEAT
Spider-Man Across The Spider-Verse review: A bloated but ambitious flick that’s worth the ticket price
SPIDER-MAN ACROSS THE SPIDER-VERSE
(PG) 140mins
★★★★☆
THE first of a two-part sequel to Miles Morales’ outing as Spider-Man in 2018, this film ups the animation ante to extraordinary levels.
As our hero navigates the Spider-Verse, the artists have given each world a distinct and vibrant identity.
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From the Italian Renaissance to stop-motion Lego figures, it’s almost overwhelming to take in all the colourful chaos as these various Spider-Men battle supervillains — and sometimes each other — in inventive action setpieces.
Future crossover
The film launches with the backstory to Spider-Woman Gwen Stacy (voiced by Hailee Steinfeld).
She is drawn in gorgeous water-colour, reinforcing the emotional turmoil she’s going through a year after the events of the first film.
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Feeling ostracised by her loved ones, Gwen joins a group of Spider-People, AKA the Spider-Society, led by Spider-Man 2099 (Oscar Isaac) to prevent the collapse of the Multiverse due to The Spot (Jason Schwartzman).
No matter how fantastical this story gets, the writers know how to ground these characters in their humanity and the voice actors deliver stirring performances.
If you’ve kept up with the Loki Marvel series on Disney+, you might recognise similar story beats, with this group of Spider-Enforcers correcting multiversal anomalies such as with the Time Variance Authority.
There’s even a mention of Doctor Strange In The Multiverse Of Madness as well as nods to other Spider-Man-related films, which suggests a future crossover.
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For die-hard Spidey fans there are no shortage of cameos from the various versions of characters that have appeared in the many comic books, TV shows and animated series from around the world.
The hilarious Spider-Punk () and Spider-Man India (Karan Soni) are welcome additions and serve a purpose beyond simply showing up.
There’s a hell of a lot to keep up with, however, and sometimes the sheer number of new characters works against the storytelling.
It’s a bit bloated but the ambition of this animated franchise is always worth the ticket price.
- Hanna Flint
THE BOOGEYMAN
(15) 98mins
★★★☆☆
ROB SAVAGE, the British filmmaker behind Host and Dashcam, has has moved on from screenlife horror into more typical supernatural territory with this solid, if not formulaic, Stephen King adaptation.
Changing the drama from the 1970s of the original short story, The Boogeyman takes place in the present day, where a dad and his two daughters are reeling from their death of their mother.
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Daughters Sadie (Sophie Thatcher) and Sawyer (Vivien Lyra Blair) don’t have much support from their avoidant therapist father Will (Chris Messina).
And after he invites disturbed patient Lester (David Dastmalchian) into their home, a sinister presence settles in.
All the hallmarks of a supernatural horror are accounted for.
Sadie is also dealing with a frenemy bully as well as taking on the role of hero in order to save her family from the demonic entity, whose reveal is particularly gruesome.
Throw in a few jump scares and you’re off to the horror races with a strong ensemble performance from the cast.
But this cinematic journey is well-trodden and doesn’t take us places audiences haven’t been before.
REALITY
(12A), 93mins
★★★☆☆
THIS compelling film follows the true transcripts of the FBI interviewing translator and whistle-blower Reality Winner in her own home.
Reality (yes, her actual name – played by Sydney Sweeney) arrives home from work to find FBI agents waiting for her outside.
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She doesn’t seem that surprised, but is concerned for the wellbeing of her dog and cat as they produce a search warrant.
While her house is searched, she is interrogated – in a strangely friendly and conversational way – about her involvement in leaking documents exposing Russia’s interference in the 2016 US election.
At first this drama is utterly engaging. It feels almost like a documentary, as actual pictures of Reality are flashed up during the interview and sometimes it switches to her voice.
Sweeney’s performance is stripped back and simple; her nonchalant attitude to the situation is note perfect.
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But as the film continues, the pace tires and feels less urgent.
With little background knowledge provided for anyone outside the US, it becomes tricky to absorb or feel connected to the true horror of this reality.
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