(Left) Donald Glover attends the 74th Annual Golden Globe Awards at The Beverly Hilton Hotel on January 8, 2017 in Beverly Hills, California. Photo by Frazer Harrison/Getty Images. (Right) Yoshi in Nintendo and Illumination’s ‘The Super Mario Galaxy Movie’, directed by Aaron Horvath and Michael Jelenic.
Preview:
Donald Glover is voicing Yoshi in ‘The Super Mario Galaxy Movie.’
Chris Pratt, Anya Taylor-Joy and Charlie Day all return to their roles.
The new movie lands on April 1.
Having seen big box office success with 2023’s ‘The Super Mario Bros. Movie,’ studio Universal and animation powerhouse Illumination have naturally come up with a sequel, this one drawing from the ‘Super Mario Galaxy’ game.
And at a recent Nintendo event, Illumination boss Chris Meledandri announced that ‘Atlanta’ star Donald Glover would be voicing dino favorite sidekick Yoshi in the movie.
What’s the story of ‘The Super Mario Galaxy Movie’?
(L to R) Luigi, Yoshi, Mario and Toad in Nintendo and Illumination’s ‘The Super Mario Galaxy Movie’, directed by Aaron Horvath and Michael Jelenic.
After defeating Bowser (Jack Black) in the original movie, Mario (Chris Pratt), Luigi (Charlie Day) and Peach (Anya Taylor-Joy) are back for another adventure and must face off against the evil Koopa King and his son, Bowser Jr. (Benny Safdie).
They’re also transported to outer space and explore various planets, like a fiery volcano world, an underwater planet and a techno-land with neon, gravity-defying obstacles. In the new trailer, the Mushroom Kingdom heroes team up with Rosalina (Brie Larson) and Yoshi (Glover), the egg-laying dinosaur (who’s normally silent except for the occasional “Yoshi!”).
When will ‘The Super Mario Galaxy Movie’ be on screens?
‘The Super Mario Galaxy Movie’ lands in theaters on April 1.
L to R: Yoshi, Baby Luigi, Toad and Baby Mario in Nintendo and Illumination’s THE SUPER MARIO GALAXY MOVIE, directed by Aaron Horvath and Michael Jelenic.
Other Movies Similar to ‘The Super Mario Bros. Movie:’
(L to R) Keke Palmer and SZA in Tri-Star Picture’s ‘One of Them Days’. Photo courtesy of Sony Pictures.
Preview:
TriStar Pictures is planning a ‘One of Them Days’ sequel.
Stars Keke Palmer and SZA are expected to return.
We don’t know what the story will be yet.
Looks like Keke Palmer and SZA are going to have another one of them days.
TriStar Pictures, which saw a big win with comedy movie ‘One of Them Days’ back in January, is looking to reunite the team behind and in front of the camera for a sequel.
8EA3X0jiXdhAPEcc1PRpg1
Variety reports that the company is in the early stages of putting the pieces together for a follow-up, which would bring the actors back for a new story.
Also potentially returning is director Lawrence Lamont, who made his debut with the movie, alongside writer Syreeta Singleton, while Issa Rae will produce via her Hoorae Media.
(L to R) Keke Palmer and SZA in Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
The movie follows best friends and roommates Dreux (Palmer) and Alyssa (SZA) as they race against the clock to avoid eviction when they discover Alyssa’s boyfriend has blown their rent money on the same day Dreux has an important interview for her dream gig.
It was a breakout hit at the box office, grossing more than $50 million worldwide after its January release — a particularly strong number for an R-rated, mid-budget comedy. The critically acclaimed film (including a stellar 94% rating on Rotten Tomatoes) was also a standout on Netflix, where it spent three weeks on the streamer’s top 10 list.
(L to R) Lawrence Lamont, SZA and Keke Palmer on the set of Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
The project was born from the CoCre lab at Sony Pictures, where Singleton’s script (originally titled ‘The Jungles’ after the neighborhood where it’s set) spent nearly seven years in development before launching in theaters.
Here’s TriStar Pictures president Nicole Brown talking about the program:
“This program is, while modern, in terms of championing diverse voices, it’s old-fashioned in the way of believing in writers, believing in talent, investing in talented people, and saying, ‘Let’s keep building this relationship.’ When we’re patient and invest in talent, then great work can come. But we have to give them the time to build, and we’ve got to give them the support. I hope it will inspire more studios to invest in great voices and give them the time to build great things.”
And this is what Singleton said about the script before the original was released:
“Prior to that, I had just been writing spec scripts, so I didn’t have any expectations. I felt very seen, understood, comfortable and excited. Like my stories were in good hands with people who genuinely cared about what it was I was trying to do.”
What will the ‘One of Them Days’ sequel be about?
(L to R) Director Lawrence Lamont, Producer Issa Rae and Keke Palmer on the set of Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
Given that none of the deals are officially in place yet, it’s too early to even guess what Dreux and Alyssa might have to deal with in the sequel.
But that’s not going to stop us! There’s every chance we’ll see them once more on a mission to figure out their lives –– especially SZA’s Alyssa.
With luck, it’ll feature a similar extended ensemble and Keyla Monterroso Mejia (who played offbeat loan company employee Kathy), will get more to do –– she was a breakout star of the original.
Where else will we see Keke Palmer and SZA?
(L to R) SZA and Keke Palmer in Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
Palmer has a few projects on the way, including heist movie ‘The Pickup’, in which she stars opposite Eddie Murphy. It’s the story of a routine cash pickup turning into a deadly pursuit when two mismatched armored truck drivers are ambushed by ruthless criminals with plans beyond the cash.
The movie will debut on Prime Video on August 6th.
Cristin Milioti in ‘Black Mirror’ season 7. Photo: Nick Wall/Netflix.
‘Black Mirror’ Season 7 receives 8 out of 10 stars.
Returning to Netflix on April 10th for a seventh season of anthology tales blending techno-terror with emotion, ‘Black Mirror’ proves it still has what it counts as the modern-day equivalent of ‘The Outer Limits’ or ‘The Twilight Zone.’
And this time, with six episodes in play, there is a greater scope for stories to be told compared to some of the more compacted recent seasons. It’s also reassuring that, after some slightly less effective entries, the seventh season finds the show handily back on form.
Does ‘Black Mirror’ Season 7 reflect well on the series?
Paul Giamatti in ‘Black Mirror’ season 7. Photo: Nick Wall/Netflix.
‘Black Mirror’ has always been about more than simply darkly shaded warnings about the use (and mis-use of technology); it’s about humans and how we interact, also. Season 7 definitely lives up to that aim, offering some persuasive tales of those whose lives are impacted by innovations in medical science or tech in general.
It’s also welcome to see the series following up on a couple of popular episodes –– while the sequel to ‘USS Callister’ doesn’t have the sting of the original, for example, it expands it in interesting ways and deepens one of the characters in the process.
Script and Direction
Will Poulter in ‘Black Mirror’ season 7. Photo: Nick Wall/Netflix.
Charlie Brooker, the show’s co-creator, once again leads the writing team here, working alongside the likes of Bisha K. Ali, Ella Road, William Bridges, and Bekka Bowling to put out more gripping tales. A highlight of the writing this time in the first entry, ‘Common People,’ with its spin on ever-changing subscription services this time applied to live-saving medical treatment. It’s emotional and thorough, and heartbreaking when needed.
On a more darkly funny level is ‘Bête Noire,’ with its vengeful story of old resentments curdled into fresh vengeance. We won’t reveal exactly what is going on, but the answer is a fun one.
Directing wise, it’s reassuring to see such filmmakers as David Slade and Toby Hynes brought back to handle the two episodes –– ‘Plaything’ and ‘USS Callister: Into Infinity’ that call back to their previous work.
All in all, though, the direction is superb –– stylish when required, subtle at other times.
Cast and Performances
(L to R) Chris O’Dowd and Rashida Jones in ‘Black Mirror’ season 7. Photo: Nick Wall/Netflix.
As has become commonplace for ‘Black Mirror,’ Season 7 boasts a quality ensemble for its various stories.
Chris O’Dowd and Rashida Jones are at the heart of ‘Common People’ and put in turns that are funny, real and packed full of feeling, but not forgetting Tracee Ellis Ross as their company rep, who keeps pushing new updates with a smile, even when the couple struggle to keep up financially.
Peter Capaldi in ‘Black Mirror’ season 7. Photo: Nick Wall/Netflix.
‘Plaything’ hinges on the intense energy of Peter Capaldi, who really sells the focus of a man on a mission, but kudos also to Lewis Gribben, who plays the same character 40 years earlier.
‘Eulogy’ boasts excellent work from Paul Giamatti as a man haunted by grief and memory (literally in this case) and grapples with tough truths about his past.
And ‘USS Callister: Into Infinity’ of course re-introduces us to the brave, digi-DNA copies of the crew (and their human counterparts), with Cristin Milioti, Jimmi Simpson and Jesse Plemons all fantastic returning to their roles.
Final Thoughts
Issa Rae in ‘Black Mirror’ season 7. Photo: Nick Wall/Netflix.
While it has the usual highs and lows as in any ‘Black Mirror’ season, the highs far outweigh the lows, and for every episode that doesn’t shine as brightly (‘Bête Noire’ is a fun concept but doesn’t totally deliver), there is a wonderful show waiting to be injected into your eyes.
Oh, and fans of the series will want to be on the lookout for a recurring motif; let’s just say it starts with the letter “J”…
k2MdZihiReoTCthn13wzs1
What’s the story of ‘Black Mirror’ Season 7?
The six-episode season of ‘Black Mirror’ features the following stories…
‘Common People’: When a medical emergency leaves schoolteacher Amanda fighting for her life, her desperate husband Mike signs her up for Rivermind, a high-tech system that will keep her alive –– but at a cost…
‘Bête Noire’: Confectionary whizz kid Maria is unnerved when her former schoolmate Verity joins the company she works at — because there’s something altogether odd about Verity, something only Maria seems to notice…
‘Hotel Reverie’: A high-tech, unusually immersive remake of a vintage British film sends Hollywood A-list star Brandy Friday into another dimension, where she must stick to the script if she ever wants to make it home.
‘Plaything’: In a near-future London, an eccentric murder suspect is linked to an unusual video game from the 1990s — a game populated by cute, evolving artificial lifeforms.
‘Eulogy’: An isolated man is introduced to a groundbreaking system that allows its users to literally step inside old photographs — stirring powerful emotions in the process.
‘USS Callister: Into Infinity’: Robert Daly is dead, but now the crew of the USS Callister –– led by Captain Nanette Cole –– are stranded in an infinite virtual universe, fighting for survival against 30 million players.
(L to R) Keke Palmer and SZA in Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
Opening in theaters on January 17th, ‘One of Them Days’ features two knockout performances from Keke Palmer and in an impressive film lead debut, SZA. Yet the movie around them is sadly not always worthy of their commitment.
Full of weird, pantomime performances, the ramshackle plot is perfectly serviceable as a ticking-clock quest-meets-hangout comedy, but not much more than that.
(L to R) SZA and Keke Palmer in Tri-Star Picture’s ‘One of Them Days’. Photo courtesy of Sony Pictures.
Sometimes dipping into annoying cliches in search of relatable nuggets of life experience, ‘One of Them Days’ struggles to completely balance its tone, preferring to dive further and further into farce as the situation deepens. And while we use the word “deepens,” that doesn’t really describe what actually happens here –– it just ratchets up the madness in the hopes of making you laugh.
How much you do actually find yourself chuckling might depend on your tolerance for actors shouting in lieu of a performance –– which we suppose comes with the territory when there is only limited time to spend with the supporting ensemble and everyone beyond Palmer and SZA are just trying to make an exception.
Script and Direction
(L to R) Director Lawrence Lamont, Producer Issa Rae and Keke Palmer on the set of Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
Syreeta Singleton, a veteran of Issa Rae’s TV shows including ‘Insecure’ and ‘Rap Sh!t’ (Rae is a producer here), Singleton’s script largely does justice to the two main characters, while many of the others feel like they’ve wandered in from a sketch. Indeed, the whole structure of the story feels episodic, or like that of a video game, with Palmer and SZA going through different levels of difficulty to achieve their aims.
The screenplay does at least also offer the leading pair a cheery, challenged friendship that feels authentic even if the events around them are cartoonish. Palmer’s Dreux is an ambitious young woman who dreams of running her own restaurant franchise, while SZA’s Alyssa is a flightier artist struggling to make ends meet and obsessed with boyfriend Keshawn (Joshua Neal), who is particularly blessed in one department (hint: it’s not brains). You empathize with their struggle and they’re charming enough as a duo to keep the story moving.
Director Lawrence Lamont on the set of Tri-Star Picture’s ‘One of Them Days’. Photo courtesy of Sony Pictures and Anne Marie Fox.
Director Lawrence Lamont has his own Rae connection thanks to ‘Rap Sh!t,’ but is better known as a music video helmer for the likes of Big Sean and J.Cole.
His visual style here is unfussy, helping to move the story along, but he doesn’t quite make everything about the movie work. The performances are, as we mentioned above, a mixed bag.
‘One of Them Days’: Performances
This is most certainly Keke Palmer and SZA’s movie, with one or two other notable turns.
Keke Palmer as Dreux
Palmer has consistently proved she’s someone who can have chemistry with a wall if needed, her natural charm shining through the role and her comic timing on full display here.
She’s an able physical comedian, but more importantly, can keep the character intact as all around her becomes abject chaos.
(L to R) Keke Palmer and SZA in Tri-Star Picture’s ‘One of Them Days’. Photo courtesy of Sony Pictures.
SZA as Alyssa
SZA, more normally found as a successful recording artist (the vast majority of her film credits so far have been on soundtracks), is the big surprise here, making a truly impressive debut, bringing spirited life to Alyssa and meshing well with Palmer.
She’s believably goofy while also coming across as more than a human cartoon.
Howery is a reliable comedy performer, though here he has limited opportunity to show what he can do, showing up for one scene (albeit a memorable one).
The payday loan company worker who handles Dreux and Alyssa’s application for money makes a real impact with her freewheeling, sarcastic turn, one of the few characters who is both manic but also truly entertaining.
Williams plays the seemingly homeless, debt-ridden type who tries to warn our main characters to stay well away from the Payday loan business. It’s a small supporting role, but Williams has fun with it.
Maude Apatow in Tri-Star Picture’s ‘One of Them Days’. Photo courtesy of Sony Pictures.
Apatow’s character is essentially a plot device and a one-note joke; the naive white woman who moves into Dreux and Alyssa’s apartment building in LA’s Baldwin Hills area and who ultimately helps them in their quest for cash.
Joshua Neal as Keshawn
Neal’s Keshawn, a wannabe entrepreneur with little idea how to make money (but plenty of ways to spend it) is a gun little role that compliments Palmer and SZA’s characters even if he comes across more a caricature than an actual person.
Final Thoughts
(L to R) SZA and Keke Palmer in Tri-Star Picture’s ‘One of Them Days’. Photo by Anne Marie Fox.
‘One of Them Days’ never quite approaches the standards of classic comedies such as the ‘Friday’ movies, but it’s amiable enough to keep the laughs flowing, anchored by two solid lead performances.
Fans of Issa Rae’s TV work will be satisfied enough, even if nothing here has the room to develop the way a series’ storylines can. Just don’t expect more than silly comedy here.
‘One of Them Days’ receives 6 out of 10 stars.
8EA3X0jiXdhAPEcc1PRpg1
What’s the plot of ‘One of Them Days’?
When best friends and roommates Dreux (Keke Palmer) and Alyssa (SZA) discover Alyssa’s boyfriend (Joshua Neal) has blown their rent money, the duo finds themselves going to extremes in a race against the clock to avoid eviction and keep their friendship intact.
Opening in theaters in limited release on December 15th and expanding wide on December 22nd, ‘American Fiction’ is one of the canniest and funniest satires to land in theaters for a long time.
Rooted in an assured, well-observed script adapted itself from a great book, Cord Jefferson’s feature directorial debut has a captivating lead performance from Jeffrey Wright, surrounded by a cadre of actors from which there are no false notes.
The subject of race in America and the wider world can often be a tricky one to tackle; and while that’s certainly the driving force in the movie, it’s one that it handles with such surety and creativity that you come away from the experience impressed and satisfied.
Percival Everett’s novel ‘Erasure’ was fueled by an incisive, angry look at how the Black experience can be commodified and packaged for guilt-ridden white audiences –– the better for it to be accepted into wider, whiter society.
That’s an even trickier narrative to make work in a movie, so Cord Jefferson –– who has form writing on shows such as ‘Watchmen’, ‘The Good Place’ and ‘Master of None’ but hadn’t directed a film before –– is to be lauded for how effectively he does it. ‘American Fiction’ might occasionally fall into the odd indie movie trope, but that doesn’t diminish its power or entertainment value.
Having worked in various writers’ rooms, Jefferson knows his way around an astute screenplay, and here he channels Everett’s book while also finding his own voice. The writing is witty and keenly observed, but it’s not all about the central premise –– the family story running alongside it (and sometimes taking prominence in the life of main character Thelonious “Monk” Ellison, (played by Jeffrey Wright) is given plenty of space and time to becoming just as involving.
As a director, Jefferson mostly lets his characters do the heavy lifting, aside from a couple of worthwhile meta sequences where creations come to life or the end of the film is edited and workshopped by two characters, this has an unassuming visual palette that gives the story prominence.
One or two moments do slip into standard indie movie style –– shots of characters contemplating their situation on a beachfront path as seagulls cry in the distance, waves lap the land and Laura Karpman’s score goes full ‘Charlie Brown Christmas’ jingly jazz don’t help matters, but they are few and far between.
Much more successfully is how Jefferson has brought out the best in his cast, which we suppose isn’t too difficult given a cast this wonderful, but still counts for a lot.
Jeffrey Wright owns ‘American Fiction’, absolutely proving he’s one of the best actors of his generation, albeit one who doesn’t always get the chance to prove that (which just shows you why the conceit of the movie is worth exploring).
Here, Wright feasts on the role of Monk, giving life to Jefferson’s script in nuanced, creative and emotionally satisfying fashion. An intellectual author who teaches privileged, issues-led students at a Los Angeles college to make ends meet between publishing highbrow fiction (he’s shocked when he sees his work filed in the “African American” section and insists it be moved elsewhere, only to be informed by a nervy shop assistant that that’s not how chain stores work).
Monk is a fully realized, superbly rounded character, one who soon learns what he’s always feared; that he’s slowly pushed everyone and everything in his life away and is painfully lonely, even as he covers it with intelligent frustration. This is a funny, flawed, human man with many foibles tarring his intelligence. When he decides to write the ultimate “Black experience” book to poke fun at the sort of material that white publishers lap up, his career becomes much more successful, even as he’s terrified of what it all means, and his life slowly starts to spiral out of control.
But this is no monologue, and Jefferson has cast so very well around Wright that it’s hard to pick out the best of the ensemble. When you have the likes of Sterling K. Brown, Keith David, Tracee Ellis Ross, Leslie Uggams, Issa Rae and John Ortiz in fully fleshed out supporting roles, you know you’re in good hands. Everyone shines, helping to build Jefferson’s world and filling it with watchable moments.
‘American Fiction’ features a book awards ceremony at one point, and the voting process for the tomes that end up making it to the dais could well be read as a dig at the Oscars’ proclivity for movies such as 2004’s ‘Crash’ that claim to have insight on race relations.
Yet as a movie itself, the film is good enough to be in consideration for categories such as Best Actor (for Wright), Best Adapted Screenplay (for Jefferson) and more. It might be dealing with a difficult subject, but it makes the whole endeavor look easy. As film directing debuts go, Cord Jefferson scores a real winner, and I can’t wait to see what he does next.
‘American Fiction’ receives 8.5 out of 10 stars.
3JQe2O0gqPfvhnzaNUQYk2
What’s the story of ‘American Fiction’?
In ‘American Fiction’, Jeffrey Wright stars as Monk, a frustrated novelist who is fed up with the establishment profiting from “Black” entertainment that relies on tired and offensive tropes.
To prove his point, Monk uses a pen name to write an outlandish “Black” book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.
Who else is in ‘American Fiction’?
Around Wright, the cast includes Tracee Ellis Ross, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Issa Rae and Sterling K. Brown.
Greta Gerwig’s ‘Barbie’ took the box office by storm, and as the audience showed up at the movie theaters all dolled up in pink, ‘Barbie’ quickly became this summer’s movie phenomenon.
4OzXLSHaYzgwPmGZqkJNI5
Based on the iconic doll, ‘Barbie’ takes us into Barbie Land, where we meet Margot Robbie’s Sterotypical Barbie as she begins to experience things out of her normal routine – cold showers, sour milk, thoughts of mortality, and the worst of all, flat feet. With Ken (Ryan Gosling) tagging along, Barbie sets off to seek out the answers by traveling to the real world. She soon realizes things in the real world are quite the opposite of everything she knows.
Directed by Greta Gerwig and co-written by Greta Gerwig and Noah Baumbach, the clever story and incredible visuals made ‘Barbie’ the talk of the town. The movie is certified Fresh on Rotten Tomatoes, with an 88% critics score and 83% audience score. Due to it sharing an opening date with Christopher Nolan’s ‘Oppenheimer’, movie fans took the opportunity and turned the dual release into a double-feature event, therefore kicking off the endless waves of “Barbenheimer” memes.
The official synopsis for ‘’Barbie” is below:
“To live in Barbie Land is to be a perfect being in a perfect place. Or you have a full-on existential crisis. Unless you’re a Ken.”
(L to R) Kinsley Ben-Adir, Ryan Gosling as Ken, and Ncuti Gatwa in Warner Bros. Pictures’ ‘Barbie,’ a Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures.
‘Barbie’ is officially the highest grossing film of 2023, having just crossed $1.3 billion globally. Opening to $162 million, the Margot Robbie-led film has earned $612 million domestically. Already an icon for many, ‘Barbie’ quickly became a social media sensation, with fans posting everything from their movie-going outfits to their Barbie collections. The film is filled with references to many Barbies and Ken dolls from various decades, sending audiences down nostalgia lane.
On the surface, ‘Barbie’ may seem like a fun adventure, much like ‘The Lego Movie’. However, the film has a deeper message and touches on the pressure of expectations, insecurities, and most importantly, what it means to be human.
‘Barbie’ premiere on July 9, 2023 at the Shrine Auditorium in Los Angeles. It was released domestically on July 21, 2023. Currently, it is still playing in some theaters, but as the movie has been in theaters for around 45 days, its theatrical window will soon come to an end. If you want to experience ‘Barbie’ on the big screen, be sure to do it soon.
The movie arrived on digital September 5 for purchase on platforms such as Prime Video, Google Play, Apple TV, Vudu, YouTube, and more for $29.99.
‘Barbie’ has a total runtime of 1 hour and 56 minutes.
Although ‘Barbie’ is leaving the theaters, Warner Bros Pictures has teamed up with IMAX to give fans a limited one-week run of ‘Barbie’ starting September 22nd. As a special treat for the IMAX audience, a special greeting from director Greta Gerwig will play ahead of the film. There will also be exclusive post-credit footage playing after the film, specially selected by Gerwig herself.
Greta Gerwig attends the ‘Barbie’ Press Tour, Sydney Australia 2023. Photography by Caroline McCredie for Warner Bros/NBC Universal. Contact: jade.perry@nbcuni.com.
In regards to the special IMAX release, Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution, said:
“We really wanted to super-serve all the fans out there who made this the Summer of ‘Barbie’ in every way imaginable, and we couldn’t think of a better way than to serve up the biggest film of 2023 and the biggest Warner Bros. film of all time on the biggest, most experiential screens around. Thanks to our terrific partners at IMAX and our incredible director, Greta Gerwig, we went a step further and are offering audiences an added incentive with this special post-credits footage. We encourage moviegoers everywhere, whether they’ve seen ‘Barbie’ or not, to see it in IMAX for a can’t-miss moment in film history.”
No word yet when ‘Barbie’ will make its way to streaming, but when it does, it is likely to end up on Max as the film is distributed by Warner Bros/Discovery.
Spider-Man/Miles Morales (Shameik Moore) in Columbia Pictures and Sony Pictures Animations’ ‘Spider-Man: Across the Spider-Verse.’
Following the events of ‘Spider-Man: Into the Spider-Verse,’ Miles Morales and Gwen Stacy reunite as the Spider-man universe expands further than either of them has ever anticipated.
“Miles Morales returns for the next chapter of the Oscar®-winning Spider-Verse saga, an epic adventure that will transport Brooklyn’s full-time, friendly neighborhood Spider-Man across the Multiverse to join forces with Gwen Stacy and a new team of Spider-People to face off with a villain more powerful than anything they have ever encountered.”
‘Spider-man: Across the Spider-Verse’ opened in theaters domestically on June 2, 2023. Initially, the movie was slated to release in April 2022 but shifted to a later release date due to the COVID-19 pandemic. ‘Spider-Man: Across the Spider-Verse’ opened to $120.6 million domestically and so far has grossed $371.8 million since its release. Worldwide, the movie has earned $666.5 million. This film serves as part one, with part two slated for a 2024 release.
The first film not only received positive reviews from critics and fans alike, but it also won the Academy Award for “Best Animated Feature” in 2019. The highly anticipated sequel once again dazzled the audience and is certified Fresh on the Tomatometer.
9GwiTO4NNjuDFLxjoETBm3
Who’s in the cast of ‘Spider-man: Across the Spider-Verse’?
This movie further expands what we already know of the Spider-Verse through the lens of Miles Morales. The film’s protagonist, The Spot, figured out that his spots can be used as portals for dimension jumping, but also the reason why Miles Morales became Spider-Man in the first place. The Spot uses his portals to travel to universes with colliders by absorbing its power to further increase his power, making him quite formidable for the team of Spider-man and Spider-woman.
Gwen Stacy also gets some much needed attention in this movie as we dive into her past on how she became Spider-Woman, her struggle to keep her identity a secret from her father, and how losing her best friend catapulted her into the frenzied world the “Spider Society.”
For the first time on the big screen, we’re introduced to Miguel O’Hara/Spider-Man 2099, Spider-Punk, Jessica Drew/Spider-Woman, and Pavitr Prabhakar/Spider-man India – all of them working together under the direction of Spider-Man 2099 to prevent catastrophic canon events.
Ben Reilly in Columbia Pictures and Sony Pictures Animations’ ‘Spider-Man: Across the Spider-Verse.’
We’ve already seen in the first film how many variants of Spider-people exist. We’ve met Spider-Ham, Spider-Noir, and Peni Parker in ‘Spider-Man: Into the Spider-Verse’, and the amount of cameo and easter eggs is dialed up in ‘Spider-Man: Across the Spider-Verse.’ Here are some of the easter eggs you can find in the movie:
Ben Reilly/Scarlet Spider
Mayday “May” Parker/Spider-Girl
Spider-Byte
Spider-Rex
Peter Parkedcar
Web-Slinger
Bombastic Bag-Man
The Spectacular Spider-Man
It’s not easy to catch all the easter eggs and cameo while watching in the theaters, but once the movie arrives on digital or a streaming platform, the audience will have the ability to pause and rewind to spot all the references and appearances.
Are There Two Version Of The Film Floating Around?
Sharp-eyed audience members begin to wonder if there were two versions of the film being shown in theaters The differences are subtle and do not affect the overall story. An example is when Miguel O’Hara/Spider-Man 2099 speaks with Lyla – In one version, Lyla takes a selfie with a bunny ear filter that shows up on Miguel’s face, and one version shows Lyla giving a fist bump. The films’ associate editor Andy Leviton has confirmed this on Twitter. Which version did you see?
Where Can I Watch ‘Spider-Man: Across the Spider-Verse’?
(L to R) Gwen Stacy (Hailee Steinfeld), Peter B. Parker (Jake Johnson) and his daughter Mayday in Columbia Pictures and Sony Pictures Animations’ ‘Spider-Man: Across the Spider-Verse.’
The movie premiered on May 20, 2023, at the Regency Village Theater in Los Angeles and was released domestically on June 2, 2023. It is still playing in theaters, so be sure to check Moviefone below for showtimes in your area. ‘Spider-Man: Across the Spider-Verse’’ has a total runtime of 2 hours and 14 minutes.
Watch the official trailers for ‘Spider-man: Across the Spider-Verse’ below:
kNazNFU8
Can’t make it out to the theater? The multi-Spider-Verse jumping movie will soon be available digitally on Prime Video. Currently, it is listed as available for pre-order for $19.99. As far as streaming goes, since Sony does not have its own streaming platform and currently has a deal with Netflix, it is likely to end up on the major streamer in the fall.
After being expelled from the utopian Barbie Land for being less-than-perfect dolls, Barbie (Margot Robbie) and Ken (Ryan Gosling) go on a journey of self-discovery to the real world.
‘Barbie’ is a surprisingly subversive, entertaining, and hilarious movie that was beautifully shot by director Greta Gerwig. The filmmaker sets a strong tone and Barbie Land is a fully formed universe, however the movie loses a little magic when the characters briefly travel to the “Real World.” Margot Robbie delivers a funny and very emotional performance as Barbie, but it is Ryan Gosling that steals the movie as Ken, delivering a hilarious and also musical over-the-top performance.
Story and Direction
Director/Writer Greta Gerwig attends the ‘Barbie’ Press Junket Photo Call at the Four Seasons Hotel in Beverly Hills, CA. Photo by Eric Charbonneau.
The story is fairly simple and begins by introducing us to the colorful and delightful Barbie Land and all of the Barbies and Kens that live within it. We soon meet “Stereotypical Barbie,” (that’s actually what she is referred to in the movie), played by Margot Robbie. Barbie lives a perfect life among the other Barbies, which include President Barbie (Issa Rae), Physicist Barbie (Emma Mackey), Journalist Barbie (Ritu Arya), and even Mermaid Barbie (Dua Lipa), until one day she realizes her life is not as perfect as she thinks. This begins an existential crisis for the character that leads her to Weird Barbie (Kate McKinnon), who explains that she must travel to the “Real World,” to find the human who is “playing with her.”
As Barbie journeys to the real world, she discovers that Ken (Ryan Gosling) has tagged along as his world revolves around Barbie and he would not know what to do without her. But once they arrive, Ken discovers the antiquated idea that men are superior to women. No longer wanting to live in Barbie’s shadow, Ken quickly returns to Barbie Land, suppresses the other Barbies and leads the other Kens to a misogynistic revolution.
Meanwhile, Barbie discovers her owner, a teenager named Sasha (Ariana Greenblatt) who has lost interest in dolls and no longer believes in Barbie’s ideals. Her mother, Gloria (America Ferrera), just happens to work for the CEO of Mattel (Will Ferrell), who is fully aware that something is wrong in Barbie Land as it is causing sales of the toys to go down. Now, it is up to Barbie, Gloria and Sasha to return to Barbie Land, liberate the other Barbies, and put an end to Ken’s evil reign.
The screenplay by Greta Gerwig and Noah Baumbach is quite clever and sets the right tone for a fun summer movie that also tackles a lot of important subjects like female empowerment and toxic masculinity with grace and humor. The film is also not afraid of making fun of itself and the absurdity of a ‘Barbie’ movie, while also taking on the criticisms that Mattel and the doll line have faced over the years and making the case of why Barbie is a good role model for girls. Kudos to Mattel for having the smarts to hire Gerwig and Baumbach (two excellent filmmakers) in the first place and then having the guts to let them make the movie they wanted to make.
Gerwig began her career as an actress in films like ‘Greenberg,’ ‘The House of the Devil’ and ‘Arthur’ but wrote 2012’s ‘Frances Ha,’ which she also starred in. She made her directorial with ‘Lady Bird,’ which earned her an Oscar nomination for Best Director, and followed it with ‘Little Women,’ which earned her an Oscar nomination for Best Adapted Screenplay. ‘Barbie’ is a big leap for her from Academy Award nominated movies to summer blockbusters, but the director does it with ease, crafting a completely enjoyable popcorn film, that also makes you think. Gerwig’s independent film background also serves her well as she fills the movies with odd inspirations, from a reference to ‘The Red Shoes’ to the choice of using a particular Indigo Girls song ad nauseum.
It has long been rumored that comedian Amy Schumer was originally tapped to play the title role in ‘Barbie,’ and while I understand what they would have been going for with a “Not Perfect Barbie,” I actually think that message gets across better by casting Margot Robbie in the lead role. Aesthetically she looks perfect, which is why she is called “Stereotypical Barbie,” but Robbie is also an incredible actress, which allows her to chip away at the character’s perfectness and show you who she really is, which is strong and vulnerable at the same time, her greatest strength. Robbie’s performance gets to the heart of the character, and the theme of the movie, which is that every women can be whatever she wants and is in charge of her own destiny. ‘Barbie’ gives Robbie her first chance at leading a blockbuster movie without playing Harley Quinn, and the actress proves that she has a lot of range and is now a big time movie star in her own right too.
While Robbie’s Barbie is definitely the focal point of the film and carries the movie well, she also allows her co-star Ryan Gosling to steal every scene he’s in. Best known for his cool-as-ice public persona and appearing in action dramas like ‘Drive’ or ‘The Gray Man,’ Gosling really gets to use his comedic chops in this film and takes advantage of every opportunity he has to poke fun at the character, while never becoming a cliché. Though his actions are misguided, Gosling reveals his characters’ vulnerability and low self-esteem, which allows the audience to sympathize with the character. Make no mistakes, Ken is the villain of the movie, which is delightful in itself, but Gosling is still likable as the character despite his despicable actions.
It should also be noted that ‘Barbie’ is partially a musical, and with his dancing background in films like ‘La La Land,’ and of course his history with the ‘Mickey Mouse Club,’ the actor knocks it out of the park in his dance scenes and especially his MTV video like sequence where he sings the opus “Just Ken.” Once Ken “goes bad,” Gosling’s transformation from an innocent lovesick puppy dog to a misogynistic 90’s boyband reject was absolutely brilliant and brings some of the movie’s best laughs. Gosling and Robbie are great together on screen, and clearly understood the tone Gerwig was going for.
There are so many well-known actors and actress playing different versions of Barbie and Ken that I can’t mention them all, but Issa Rae certainly stood out as President Barbie, as did Kate McKinnon playing Weird Barbie, the doll your older brother got a hold of and put through a woodchipper. Emma Mackey, who is often confused with Robbie in real life, was cleverly cast as Physicist Barbie, and musician Dula Lipa also stands out in a cameo as Mermaid Barbie opposite John Cena’s Mermaid Ken. Two MCU alumni, ‘Secret Invasion’s Kingsley Ben-Adir and ‘Shang-Chi’s Simu Liu also play Kens, but neither are given anything significant to do. While many may not remember, the Mattel line of dolls did introduce two other less popular characters, Allan and Midge, who are played well comedically by Michael Cera and Emerald Fennell, respectively.
Outside of the Barbie Land characters, America Ferrera and Ariana Greenblatt are both great as Gloria and Sasha, respectively, and their mother/daughter relationship really helps to bring home the message of the movie. Helen Mirren plays the narrator and I can’t think of an actress with more gravitas to voice the role. The script also allows her to add her own funny commentary, including mentioning that Barbie’s eloquent monologue about the pressures of being beautiful would have more weight if not delivered by an actress as aesthetically pleasing as Robbie.
However, there were a few “real world” characters that didn’t quite work. Look, it’s always nice to see legendary ‘Cheers’ actress Rhea Pearlman on screen, but she plays the ghost of Barbie creator Ruth Handler, who unexplainably lives on the 7th floor of Mattel’s corporate headquarters. While the actress gives a nice monologue that ties the themes of the movie together at the conclusion, it didn’t seem entirely necessary. The film already asks us to except the idea that Barbie Land and the dolls are real, so trying to also except that ghosts and the afterlife exist seemed a step too far for me.
I also have to question the casting of Will Ferrell as the CEO of Mattel, as it is basically the same character he played in ‘The Lego Movie,’ which uses a similar storytelling device with the idea that the toys are real and what they do in their world affects ours. Maybe Gerwig was going for a meta-joke with his casting, or perhaps she just wanted to work with Ferrell, who is perfectly fine in the role, but I couldn’t help thinking of the comparisons to ‘The Lego Movie’ and Ferrell’s inclusion took me out of the movie in some moments.
Which leads to my next point, the “real world” scenes are definitely the low point of the film. Once Barbie and Ken journey to the real world, which is about 30 minutes into the movie, I was worried that the rest of the film would take place there and it would become a “fish out of water” story with Barbie not understanding human concepts like money, or being sexually objectified by men. Unfortunately, those stale jokes are used, but luckily the characters do not stay in the real world for long and the third act takes place back in Barbie Land. I do understand why the characters needed to go to the “real world,” plot wise Ken needed to discover misogyny in order to bring it back to Barbie Land, and while some scenes work, like Ken’s altercation with a female doctor, it’s not the high point of the film and you are grateful when they do return to Barbie Land.
Barbie Land
Margot Robbie as Barbie in Warner Bros. Pictures’ ‘Barbie,’ a Warner Bros. Pictures release.
The major set piece of the movie is Barbie Land and it comes to life beautifully with eye-popping color and a magical tone. Set designer Sarah Greenwood and decorator Katie Spencer did marvelous work creating a realistic yet magical world and I wouldn’t be surprised if they are rewarded for their work come awards season. Their design for Ken’s Barbie Land is also unique and fabulous, with stallions and heavy metal featured throughout. Costume designer Jacqueline Durran will also likely be on a shortlist come Oscar time with stunning costumes that represent many of Barbie’s iconic looks. But again, the fun is when Ken transforms and his costumes look like a cross between Sylvester Stallone in the 80s and ‘N Sync.
Is ‘Barbie’ a Kid’s Movie?
Margot Robbie as Barbie in Warner Bros. Pictures’ ‘Barbie,’ a Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures.
No, is the short answer. With a PG-13 rating, some material may be inappropriate for pre-teenagers, and while they might enjoy the humor, musical numbers, and colorful characters and sets, some of the film’s political and pop culture messages will get lost on a young audience, but its message of love and equality will shine through, even if it is subliminally.
Final Thoughts
Director Greta Gerwig has done the impossible … delivered a ‘Barbie’ movie that is an entertaining summer blockbuster, while also being socially important and containing thoughtful, emotional and funny performances. Margot Robbie earns her movie star status producing and starring in this well-made summer tentpole, while Ryan Gosling proves he’s just as funny as he is cool with his hilarious over-the-top performance.
After being expelled from the utopian Barbie Land for being less-than-perfect dolls, Barbie (Margot Robbie) and Ken (Ryan Gosling) go on a journey of self-discovery to the real world.
Moviefone recently had the pleasure of sitting down in-person with co-writer and director Greta Gerwig to talk about her work on ‘Barbie,’ why she wanted to direct the movie, working with actress and producer Margot Robbie, and Ryan Gosling’s hilarious performance as Ken.
‘Barbie’ co-writer and director Greta Gerwig.
You can read the full interview below or click on the video player above to watch it.
Moviefone: To begin with, what was your first reaction to idea of a Barbie movie, and once you agreed to be a part of the project, what tone and direction did you want to take the film in?
Greta Gerwig: I had been wanting to work with Margot Robbie and she had the rights and was setting it up with her company at Warner Bros. She came to me and said, “Would you like to write this movie?” I jumped at the chance because it was her, and I was like, “Yes, I would love to.” I was also terrified of it because I was not even sure where to start with a Barbie movie. I think there was something about it that seemed like such a tricky problem to solve that it felt a bit of a puzzle. What’s the vantage point? How do we get into this? Then once Noah and I had written the script together and we had the script, that’s when I thought, “Oh, I love this and I don’t want anyone to direct it but me.” So then I said, “I have to direct it,” and they thank goodness, let me.
MF: What was it like working with Margot Robbie and why was she the right actress to play this specific version of Barbie?
GG: I mean, Margot’s a dream as a producer, and as an actor, she’s everything. I mean, she can do anything you want 10 times over, backwards in heels. She’s just an extraordinary actress. I always knew it was going to be hers so when we were writing it, I knew it was going to be hers. So that was always in my mind, but I think that as we worked on it, as we started doing rehearsals and started reading, it just changed and got deeper and more dimensional because I started to know her really well as a person, as an actor, and it was something that evolved alongside her.
MF: Finally, can you talk about Ryan Gosling’s performance as Ken and the direction you wanted to take that character?
GG: I mean, Ryan is jaw-dropping. He’s incredible in this movie. It’s the same thing I like about Margot is that Ryan is incredibly funny, but he never does it in a way that’s making fun of the character, it’s always inside the character. He takes it very seriously, which is why it’s so funny. I actually also wrote it for him, which I can’t believe still that he said yes because I didn’t know him. He wasn’t sure at first, and then I waited him out and he finally was like, “Oh, they’re not going to leave, they’re still here,” which was me and Margot. We just wouldn’t let him not do it. Yeah, and what he brought to it was just he committed beyond any way I would ever imagine in my wildest dreams he would commit. We texted about it and talked about it for a year before we started shooting. We came up with the idea of his Flo Jo dojo mink. But we were texting back and forth pictures of like, we both love Sylvester Stallone and we were like, “What about this look? What about that look?” Then there’s like a pair of glasses he wears in the movie when he puts on the second pair of glasses that were based on the glasses that the ballet director from ‘The Red Shoes’ wears. So they are these cat eye glasses and they’re just such wonderful glasses. I mean, we went so detailed with it and it was like references we gathered for so long. I was sort of slightly terrified when he showed up. I was like, “What if he doesn’t want to do any of this?” But he showed up and just committed, bleached his hair, did the whole thing, shaved his legs, and then there we were.
Director/Writer Greta Gerwig attends the ‘Barbie’ Press Junket Photo Call at the Four Seasons Hotel in Beverly Hills, CA. Photo by Eric Charbonneau.
What is the plot of ‘Spider-Man: Across the Spider-Verse’?
‘Spider-Man: Across the Spider-Verse’ takes place one year after the events of ‘Spider-Man: Into the Spider-Verse,’ as Miles Morales (Shameik Moore) is unexpectedly approached by his love interest Gwen Stacy (Hailee Steinfeld) to complete a mission to save every universe of Spider-People from the Spot (Jason Schwartzman), who could cause a catastrophic disaster. Miles is up for the challenge, where he and Gwen journey through the Multiverse together and meet its protectors, a group of Spider-People known as the Spider-Society, led by Miguel O’Hara (Oscar Isaac). However, Miles finds himself at odds with Miguel and the Spider-Society on how to handle the threat.
9GwiTO4NNjuDFLxjoETBm3
Who is in the voice cast of ‘Spider-Man: Across the Spider-Verse’?
While more mature and character-driven than the original, ‘Across the Spider-Verse’ builds off of the first film exceedingly well and dives deeper into Miles’ struggles with being Spider-Man, as well as Gwen Stacy’s origin story. The movie is also larger in scope than the previous film, with even more breathtakingly beautiful animation, and explores the Spider-Verse further by adding some excellent new characters and setting up an exciting conclusion in ‘Spider-Man: Beyond the Spider-Verse,’ which is scheduled to be released next year.
Spider-Man/Miles Morales (Shameik Moore) in Columbia Pictures and Sony Pictures Animations’ ‘Spider-Man: Across the Spider-Verse.’
Story and Animation
The sequel starts off with a bang featuring Gwen Stacey’s heartbreaking origin story, which also introduces Jessica Drew, Miguel O’Hara, and the Spider-Society. We then return to Miles Morales and his struggles with school, his parents, and being Spider-Man. Miles soon encounters The Spot, a new super-villain who’s own origin story is tied to Miles’. Miles doesn’t take his new “archenemy” seriously and The Spot vows his revenge
against Spider-Man by amassing as much power as possible.
Meanwhile, Miles is visited by his old friend Gwen and soon learns of the Spider-Society and wants to join. He eventually follows Gwen to their headquarters, reunites with Peter B. Parker, who now has a baby daughter, and meets O’Hara and learns that they have all been keeping a terrible secret from him. Now knowing the truth, Miles must decide what path he wants to take with his future.
(L to R) Gwen Stacy (Hailee Steinfeld), Peter B. Parker (Jake Johnson) and his daughter Mayday in Columbia Pictures and Sony Pictures Animations’ ‘Spider-Man: Across the Spider-Verse.’
Ordinarily, I do not like sequels that just set up other sequels and don’t have a satisfying conclusion of their own (I’m looking at you ‘Fast X’). But ‘Across the Spider-Verse’ is different and has an extremely satisfying conclusion, even if it is a cliffhanger. The story overall is more mature, a bit darker, and even larger in scope than the original, but never loses focus of Miles, his family, his friends, and his point of view. The movie is long at almost two and a half hours, but never feels too long and the quitter, character-driven moments, for example between Miles and his parents, raise the stakes of the overarching story. The movie also takes more time to examine Gwen Stacy and her backstory, which is one of the highlights of the film.
Not unlike the original, Oscar-winning movie, the animation is absolutely gorgeous and some of the most impressive I’ve ever seen. The movie itself has a specific style and tone, which gives it a certain comic book quality. But at the same time, each character has his or her own specific style which is very unique. Because of the multiverse aspect to the story, the filmmakers can have some fun with the animation styles, and they do, mixing and matching what style works best for which character. Some are a representation of the medium or time the character was first created, but the movie also mixes different types of animation as well as even Legos (a nod to Lord and Miller’s ‘The Lego Movie’) and live-action. It’s also worth noting how the animators successfully make Miles and Gwen look older than they did in the first movie.
(L to R) Jessica Drew (Issa Rae), and Gwen Stacy (Hailee Steinfeld) in Columbia Pictures and Sony Pictures Animations’ ‘Spider-Man: Across the Spider-Verse.’
Miles Morales and Gwen Stacy
The movie wisely begins a year after the original, giving Miles some time to grow and mature, but at fifteen, he’s still just a kid. The sequel really takes its time to set up Miles now, how he’s changed, how he’s not, and what his personal problems are before his new journey truly begins. These are some of the most touching moments of the movie, especially Miles scenes with his parents, where he desperately wants to tell them the truth but can’t. Shameik Moore is even better, if that is possible, as the voice of Miles this time around, and seems to have even made his voice more mature to age appropriately with Miles.
The first 20 minutes or so of the movie is Gwen Stacy’s origin story, and it could really be a short film of its own. It’s a heartbreaking beginning, but fitting for the character who has always been a bit more emotionally broken than Miles, and now we know why. Gwen’s relationship with Miles also grows in this movie and is completely believable, while there is a fun rivalry between Miles and Spider-Punk for her affections. Hailee Steinfeld gives a great voice performance and adds a lot of emotion and vulnerability to the character.
Issa Rae as Jessica Drew / Spider-Woman in ‘Spider-Man: Across the Spider-Verse,’ which opens in theaters on June 2nd, 2023.
There are too many new Spider-People introduced to mention them all, and some are just fun cameos that I won’t spoil. But Jessica Drew definitely stands out. If you are old enough, you will remember a Saturday Morning cartoon in the early 1980s called ‘Spider-Woman,’ which featured Jessica Drew. Well, this interpretation is completely different and extremely refreshing. Issa Rae plays the character like a complete boss, and the addition of a Spidy-Cycle was a nice touch.
Also a standout, Oscar-winner Daniel Kaluuya as Hobert “Hobie” Brown/Spider-Punk. Certainly a lesser known Spider-Man, Kaluuya makes the character come alive with an authentic attitude, Johnny Rotten accent, and punk animation style. Another new Spider-Person worth mentioning is Spider-Man India, hilariously voiced by ‘Deadpool’s Karan Soni, who is a nice addition to the Spider-Team.
Miguel O’Hara as Spider-Man 2099 (Oscar Isaac) in Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’
The Villains
While not a villain per se, Miguel O’Hara/Spider-Man 2099 is definitely an antagonist in the film and very tough on Miles. The character was first introduced in the end-credit sequence in ‘Into the Spider-Verse,’ and I have to say, I was slightly disappointed. The character was very one-dimensional for me, and I hope he will be explored further and perhaps redeemed in the next movie. Oscar Isaac is fine in the role, but not given enough time to really explore the character. He’s angry through most of the movie, and with the exception of a few funny lines, his emotions never really change. While his true motivations are revealed before the movie’s end, we’re never really given enough time to truly understand how he feels about what he’s doing.
But the main villain in this movie, and it would seem the following film, is The Spot, wonderfully voiced by Jason Schwartzman. The actor is goofy, bumbling, funny, scary, menacing, brilliant, and a bit dumb, all at the same time. While the character does not seem much of a threat for Miles at first, he certainly is by the film’s end and his transformation is completely logical. It was also a nice touch retconning Miles origin so it would be tied to The Spot’s.
Miles Morales (Shameik Moore) takes on The Spot (Jason Schwartzman) in Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’
Is ‘Spider-Man: Across the Spider-Verse’ set in the MCU?
No, ‘Spider-Man: Across the Spider-Verse’ is not set in the MCU. However, this is a multiverse story, and there are definitely references, Easter eggs, and other surprises linked to the MCU and other Spider-Man film and television projects from the past.
Are there any End-Credit scenes in ‘Spider-Man: Across the Spider-Verse?’
No, at least there was not at the press screening. There is a mid-credit bumper that says, “Miles Morales will return in ‘Spider-Man: Beyond the Spider-Verse,’” which of course we already knew. But that doesn’t mean that an end-credit scene wasn’t kept from the press as not to spoil, so if you don’t have anywhere urgent to be, you should probably stay in your seats after the movie just in case.
Final Thoughts
In the end, it’s hard to believe that ‘Spider-Man: Across the Spider-Verse’ is just as good if not better than the Oscar winning ‘Spider-Man: Into the Spider-Verse,’ but it is! The sequel recaptures the magic of the original, while broadening the scope, raising the stakes, and delivering a more mature movie with a satisfying ending, even if it is “to be continued.” The movie takes a deeper look at fan-favorites like Miles and Gwen, but also introduces great new characters like Spider-Punk, Jessica Drew, and The Spot, while featuring eye-popping, beautiful, fresh, and groundbreaking stylistic animation.
‘Spider-Man: Across the Spider-Verse’ received 9.5 out of 10 stars
‘Spider-Man: Across the Spider-Verse’ lands in theaters on June 2nd, 2023.
Other Movies Similar to ‘Spider-Man: Across the Spider-Verse’:
‘Spider-Man: Across the Spider-Verse’ is produced by Columbia Pictures, Sony Pictures Animation, Marvel Entertainment, Lord Miller Productions, Pascal Pictures, and Avi Arad Productions. It is set to release in theaters on June 2nd, 2023.
