Spider-Man: Across The Spider-Verse (2023)

I had quite the dilemma when I left the cinema after seeing the visual feast that is Spider-Man: Across The Spider-Verse. I wasn’t debating whether or not I liked it. I wasn’t bothered by the cliffhanger of an ending. I simply wondered whether or not I could immediately rank this as a superior film to the damn fine Spidey movie that preceded it. After wrestling with my conscience for a short while, I have decided that I can. Others may hold that ending against it. I won’t. In fact, the way the ending promises even more great Spider-Man adventures in this format means that I view it as a bonus. This is a perfect movie.

We’re back in the company of Miles Morales (Shameik Moore), but we only reconnect with Miles after an extended opening sequence that shows us the ongoing adventures of Spider-Gwen (Hailee Steinfeld). Viewers are brought up to speed about, or reminded of, the various incarnations of Spider-characters throughout the multiverse, and it isn’t long until Miles Morales is battling a foe (Spot, voiced by Jason Schwartzman) who puts multiple realities in serious danger. 

That’s all I want to say about the plot of the film, but I could write so much more here and still feel as if I was just scratching the surface. Let me just add that there is still a great energy to this material, a great blending of various animation styles, and characters depicted onscreen that many fans thought they would never see in a major movie.

Phil Lord and Christopher Miller are back on writing duties, alongside Dave Callaham, and they bring their patented brand of humour with heart, once again seeming to relish the chance to craft great moments for even the most minor Spider-figures. It also shows how to create a picture of great impending peril while keeping the focus on characters, real emotional turbulence, and natural and rewarding personal developments.

Directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson may all be new to their roles in this particular movie series, but they all work in service to material that effortlessly (well . . . seemingly effortlessly) feels livelier, cooler, and more colourful and diverse than any other superhero movie we’ve seen so far. The only other film that comes close is, well, the previous Spider-Verse adventure.

It’s impossible to narrow down the praise for voice performances that are such a good fit for the animation, especially Moore and Steinfeld being so perfect in the lead roles, so I will just reel off the many names of the core figures: Jake Johnson (another welcome returning player), Oscar Isaac, Daniel Kaluuya, Karan Soni, Brian Tyree Henry, Luna Lauren Velez, Shea Whigham, Issa Rae, as well as some live-action incarnations, shown in archive footage very familiar to us Spidey fans. 

As already mentioned, the ending didn’t bother me, but I know some will be frustrated by the idea of another superhero film ending on a note that leads in to whatever the next instalment is due to deliver. I relish the potential ahead, because this movie series keeps delivering on that potential, and far beyond it. Spider-Man: Across The Spider-Verse crashes on to screens as one of the best ever superhero movies, one of the best ever animated movies, and simply one of the best ever movies, period. And to think . . . I didn’t ever seriously consider that anything would be able to supercede the first film. 

10/10

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Ani-MAY-tion: Spider-Man: Into The Spider-Verse (2018)

Spider-Man: Into The Spider-Verse is the best Spider-Man movie made, to date. That's not to say that some of the others don't come close, or to call this perfect. It just captures the spirit of the character, and the comic-book style, better than anything else put onscreen so far, helped in no small way by the stylistic choices made, and a fantastic voice cast.

Shameik Moore plays Miles Morales, a teenager who finds his life becoming a bit more problematic when he's bitten by a spider and turned into Spider-Man. It's confusing because, in the universe that Miles inhabits, there is already a Spider-Man (Chris Pine). And then another Spider-Man (Jake Johnson) turns up. And then quite a few other incarnations of the character also turn up: Spider-Gwen (Hailee Steinfeld), Spider-Man Noir (Nicolas Cage), Peni Parker (Kimiko Glenn), and Spider-Ham (John Mulaney).

Taking a cue from the character of Morales, this is a movie infused with the energy and colour of well-made street art. It has a sense of anarchy art times, and yet remains surprisingly on point when it comes to the kind of lesson that we're used to seeing delivered by a Spider-Man film. It's loud and vibrant for a lot of the runtime. It also takes some time to allow Morales to try sorting through his own muddle of thoughts as he figures out how best to adapt to his potential new life.

Directors Bob Persichetti, Peter Ramsey, and Rodney Rothman do a great job with the script, co-written by Rothman and Phil Lord. There's a reason for the events onscreen (a device being fired up by the main villain, Kingpin) and everything is balanced out perfectly. You get plenty of moments to make you laugh, plenty of fun action sequences, and a plot that actually makes sense and builds towards the sort of spectacular finale you get from any standard superhero movie, despite this feeling far removed from standard superhero movies in a number of ways.

The voice cast are absolutely superb, across the board. As well as those mentioned, you also have great work from Brian Tyree Henry (the father of Miles), Mahershala Ali (a cool uncle that Miles looks up to), Liev Schreiber (Kingpin), Kathryn Hahn (a scientist working for Kingpin), Zoë Kravitz, and Lily Tomlin.

The only thing holding this back from being a perfect movie is the fact that it's sometimes a little bit TOO loud and busy in scenes that have your eyes darting around to try and take in every single detail. And most scenes have plenty of details that will make this a treat to rewatch again and again.

Who would have thought that, while attempting to tell various Peter Parker adventures again and again, the secret to making the most satisfying Spider-Man movie to date would involve putting Miles Morales front and centre? Actually . . . a lot of Miles Morales fans have been saying it for years. It's good to see that others can now see how right they were.

9/10

You can buy the movie here.
Americans can buy it here.

Tag (2018)

Based on a true story, to a degree, Tag is a comedy all about a group of friends who have tried to stay young at heart by competing in an ongoing game of, as you may have guessed, Tag. It happens every year, throughout the month of May. That last one who is tagged as "it" is the person who has to spend a whole year knowing that they were the loser. One member of the team (Jerry, played by Jeremy Renner) has never been tagged, but this is the year when that changes. It's also the year of his wedding.

Marking the feature directorial debut of Jeff Tomsic,  Tag is about as middling as mainstream comedies get. I'm not going to deny that I laughed a few times, which is a few times more than I expected to, but a lot of the humour here comes from the cast, who elevate the fairly weak script by Rob McKittrick and Mark Steilen.

Renner is a lot of fun here, his ultra-serious approach to covering all of the bases to avoid being tagged a highlight of the film, and the rest of the team do well. Ed Helms is the one who seems to have things planned out best, Jon Hamm looks to be a viable threat at times, Jake Johnson is in unfocused stoner mode, and Hannibal Buress amuses with a number of timely, but unhelpful, observations. Isla Fisher is very good, playing the wife of the character played by Helms, her intensity turned all the way up to 11 for many of her scenes, Leslie Bibb isn't bad as the bride-to-be, and Annabelle Wallis follows the group to get an unexpected story for her newspaper, the Wall Street Journal. Rashida Jones is always a welcome presence, but she's shoehorned in here as a distraction for two of the main male characters, and subsequently given nothing decent to work with.

I'm surprised that we don't get a selection of upbeat pop hits but, otherwise, this ticks all of the expected boxes. You get flashbacks to the characters playing the game as kids, you get a number of tag-related set-pieces, there are some underhand tactics, and you also get a secret revealed towards the back end that is supposed to underline everything with some additional emotion and poignancy (although it doesn't). Fisher aside, the women onscreen are mostly sidelined by the men running after one another and being big kids, and it's all presented as a wonderful way in which friends stay bonded over the years and hang on to their youth.

It's a shame that this is so mediocre throughout, but then it's also hard to see how it could have been anything more than that. How, after all, do you flesh out a film that is based around such a silly, and lightweight, concept? Maybe you decide that it's not really film-worthy and move on to something better instead.

Some may, of course, like this more than I did. Many may liked it even less. Aside from the lack of major laughs, I just found myself often watching the carnage onscreen and wondering just why these people were being celebrated for being selfish men-babies who didn't care about the damage they were causing to bystanders and property as they raced to tag one another. That may just be a sign that I am now officially middle-aged. Or it MAY be that these characters aren't really worthy of a whole movie.

5/10

You can pick up the movie here.
Americans can catch the movie here.
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Bonus Review: Let's Be Cops (2014)

It's not that hard to make a decent, mainstream comedy. I may not rave about them at every opportunity, but films like We're The Millers and The Incredible Burt Wonderstone are movies that do all that I require from them. They keep me happy, and often chuckling, for the duration. So why do so many movies get it wrong, either relying on the talent/charisma of some leading player who doesn't have the right stuff, or simply misfiring most of the gags? It's a mystery, especially when you get to enjoy a film like Let's Be Cops, a slice of fun that works so well mainly because of a fantastic premise, helped by the chemistry between the two leading men.

Jake Johnson and Damon Wayans Jr. star as, respectively, Ryan and Justin. The two men aren't where they want to be in their lives. A blunt, cruel person might even simply refer to them as losers. But things take a turn for the better when they decide to go to a party one evening dressed as cops. They soon realise that a lot of people are looking at them differently, looking at them as if they are real cops. Caught up in the good feeling, the two decide to take things farther than they should, eventually landing themselves in some major hot water when they take on a criminal (James D'Arcy) who isn't afraid to threaten even officers of the law.

I could say that Let's Be Cops is a bit of an easy ride for everyone involved. It just seems impossible to screw up, but that's only something I can think now because it wasn't screwed up. You just need to watch the similar(-ish) Ride Along to see the material being twisted into something inferior for the sake of making it into a star vehicle. This movie isn't a star vehicle, yet Wayans Jr. and Johnson come out of it shining brightly.

The direction from Luke Greenfield, who also co-wrote the screenplay with Nicholas Thomas, is solid. Everything moves from A to B quickly enough, and the only major complaint about the plotting is how predictable things become in the second half. But it's a predictability that, like everything else in the movie, simply enhances the fun. It's a comforting set of twists and turns showing that a plot HAS actually been wrapped around the comedic set-pieces without ever taking too much time away from the laughs.

As much as I'm tempted to, I won't go on and on about the two leading men any more. They're both brilliant, individually and when sharing their many scenes together. Nina Dobrev does as well as can be expected in the role of Josie AKA the love interest for Wayans Jr. It's a potentially thankless part to play, but Dobrev still manages to bring something more to the table than just her attractive looks. D'Arcy is a convincingly cold villain, and always feels like a viable threat, even before things really heat up for our two leads. Rob Riggle and Andy Garcia are both excellent as two very different law enforcement officers, with the former coming along at just the right time to save the movie from any potential lull in proceedings. And I can't forget to mention the scene-stealing turns from Natasha Leggero and Keegan-Michael Key. Leggero plays a woman turned on by the cops who need to use her home as a surveillance point, while Key is a helpful informant who just doesn't know when to keep inappropriate comments to himself.

It's not the most sophisticated comedy you'll ever see, and it's also far from the funniest, but Let's Be Cops proves to be surprisingly effective at mixing some big laughs with characters you end up actually caring about. Which makes it more deserving of your time than at least 80% of the mainstream comedies that have tried to take your money in the last few years.

7/10

http://www.amazon.com/Lets-Cops-Blu-ray-James-DArcy/dp/B00NQH5IBU/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1412116867&sr=1-2&keywords=let%27s+be+cops

Drinking Buddies (2013)

There's something about Drinking Buddies that I liked, despite the fact that the film just seems to be an aimless, inebriated, waste of time while it's on. Writer-director Joe Swanberg is happy, as ever, to let things play out in a way that demands patience and no small amount of empathy from viewers. He's helped by a great cast, all working well together, and one or two scenes that sneak up on you with their warmth and, yes, romance. In between the many beers being drunk.

Olivia Wilde plays Kate, a young woman who works in a brewery with Luke (Jake Johnson). She also has a decent boyfriend, Chris (Ron Livingston), while Luke has a girlfriend named Jill (Anna Kendrick), but that doesn't stop both of them enjoying a friendship that keeps them closer than most couples. They work together, they joke around, and they often go out for a few beers. And then a few more beers.

People familiar with Swanberg's work will know what to expect here, some slightly rambling tale that focuses on character interaction above anything cinematic. That can be frustrating at times, but it has to be said that his attempts to capture something that feels more naturalistic on camera results in some moments of great success.

This movie has some very sweet scenes, and numerous moments that ring true. The chemistry between Wilde and Johnson is great, with the pair really feeling like two close friends comfortable enough to joke around with one another, comfort one another, and even chastise one another when one thinks that the other is out of line. Livingston and Kendrick may be slightly sidelined, but they're allowed to affect main events without being reduced to a simple plot device. And there's a fun supporting role for Ti West, who walks a thin line between cocky and just comfortable in the company of workmates.

Drinking Buddies is worth a watch, but it's nowhere near as good as it could have been. Neither the dramatic nor comedic elements work as well as they should, and it's enough to make you want to grab Swanberg by the collar and give him a shake, forcing him to just focus on one way of telling the tale.

6/10

http://www.amazon.co.uk/Drinking-Buddies-DVD-Olivia-Wilde/dp/B00G7M18S8/ref=sr_1_1?ie=UTF8&qid=1390170402&sr=8-1&keywords=drinking+buddies