Spider-Man - Across The Spider-Verse

Webs Are Flowing
Out Like Endless
Rain Into A Paper Cup

Spider-Man -
Across The Spider-Verse
Directed by Joaquim Dos Santos,
Kemp Powers & Justin K. Thompson
USA  2023 Sony/Marvel
UK cinema release print

Warning: Yep, there will be plenty of spoilers here.

Spider-Man - Across The Spider-Verse is the direct sequel to Spider-Man: Into The Spider-Verse (reviewed here) and has been made back to back with its sequel, Spider-Man - Beyond The Spider-Verse, which comes out in cinemas this coming March 2024. So, yeah, if you’re expecting this one to end with an unresolved story plus a cliffhanger, you’d be absolutely right. In fact, don’t even bother sitting through the end credits on this one because, surprisingly, this one has no mid or post-credits scenes on it.

Now, I quite liked the first Spider-Verse movie, even though I had no idea who this Miles Morales was and, yeah, it took me by surprise. This second one also managed to take me by surprise because, after the densely packed previous installment, I really didn’t expect this one to be much more than a disappointing repeat of the first one at best. Well, I was completely wrong because... and I don’t often say this or take this kind of statement about new movies all that kindly or credibly but... this one is at least as good as the first movie, if not better.

The story on this one follows on from the post credits sequence of the last one, where Spider-Man 2099 (played here by Oscar Isaac) seems to be monitoring the state of the multiverse. However, Miles Morales (played by Shameik Moore), it turns out, is not even supposed to be the Spider-Man for his version of reality because, as it turns out, the spider that bit him in the first movie was actually from another dimension and this, plus a couple of other things happening, including a hilarious new villain called The Spot, have set up the interconnecting universes on a crash collision and, long story short, Miles father has to die to avoid a catastrophic incident. Cue many, many different multidimensional incarnations of Spider-Man trying to stop Miles from returning to his own dimension to save his dad from imminent destruction.

The film looks great, employing different animation styles and colour palettes throughout. It also has a superb voice cast including Hailee Steinfeld returning as Gwen Stacey, aka Spider-Gwen and various other actors, sometimes returning from other related Marvel movies. Such as J K Simmons once again returning briefly as J Jonah Jameson and, in a wonderful live action moment, Peggy Lu reprising her Mrs. Chen role from the two Venom movies. Biggest shout out, though, goes to the superb performance put in by Daniel Kaluuya as the British Spider-Punk. And, of course, all these wonderful performances wouldn’t be possible without the brilliant writers who make both the dialogue and story superb. Note to Hollywood... pay the damn writers who are, at time of writing, on strike. Get your priorities right here!

Now, I heard a review of the film which pointed out that there was a lot of stuff being thrown at the audience all at once but, underneath all that visual chaos, the film has a warm, beating heart which enables you to care about the main protagonists. I’d say yes to the second point but, honestly, this one didn’t hit me as much of an information overload of a spectacle as the first. There are a lot of visual and audio jokes for sure but I think I caught most of them and this one seemed, if anything, to make a lot more sense than I thought it would. To the extent that the big twist reveal near the end of the movie, such as it was, came as no surprise to me by that point in the story.

However, it was a logical story beat so it didn’t disappoint me as such and, that particular villain reveal aside, I also loved that another villainish character in this movie is as much one of the heroes as he is a villain. But his complex psychological needs to ‘parent’ what’s going on in the Spider-Verse kinda turns him into a villain too.

The film would be nothing, of course, without Daniel Pemberton’s follow up score to his wonderful job in the first movie and I am keeping my fingers crossed that some company will release this one on a proper CD at some point and, not just stick with a useless electronic download of the score.

And I think that’s me pretty much done with Spider-Man - Across The Spider-Verse. I absolutely expected it to be, well, not that great but, I absolutely loved it and will be first in line when the third movie comes out early next year. Would recommend this to anyone who loves the various Marvel characters and a script that doesn’t take itself too seriously. Good stuff.

Hawkeye

Bird With
Christmas
Trimmings

Hawkeye
USA 2021 6 episodes
November - December 2021

Warning: Some spoilers.

Hawkeye, the latest of the Marvel TV series which link into the Marvel Cinematic Universe films (MCU) tells a story of main protagonist Clint Barton, played once again by Jeremy Renner and, in this one, he’s just trying to get back from New York to his family for Christmas Day. However, he runs into trouble when a girl called Kate Bishop, played by Hailee Steinfeld, who has been training most of her life to be just like Hawkeye after seeing him in action in the Battle Of New York from the end of the first The Avengers film (aka Marvel’s Avengers Assemble to us here in the UK), stumbles on a secret underground auction of equipment left over from the decimated Avengers mansion, as it was after the events of Endgame. Namely, his old Ronin suit and retractable sword, which gets her into trouble when gangs related to many that Ronin wiped out mistake her for Ronin and come after her. So Hawkeye (aka Barton) has to stay in New York and keep the police and gangs at bay while the two try to uncover exactly what’s going on with the people behind the auction and how Kate’s mother, played by the always wonderful Vera Farmiga, is mixed up in things.

It’s an okay and mostly entertaining show I thought. It doesn’t feel in any way important to the way the Marvel universe is being reshaped at the moment but it does cram in some other elements which will lead on to other things... and ties up one small loose end.

For example, we have Alaqua Cox playing deaf/amputee character Echo, who is soon to spin off into her own series, apparently. And we have Florence Pugh reprising her role as the new, prime Black Widow, sister of Natasha, trying to make good on her mission to kill Clint Barton leading directly from  the post credit scene in Black Widow (reviewed here). There are also a bunch of extra characters in the form of LARPers... which if memory serves stands for Live Action Role Players (yeah, I think some of my friends used to go in for this) and a one eyed dog who seems to have a terrific build up and seems like its own loose end, due to the way he meets up with Kate and Hawkeye in the TV show. I felt like the dog character had more of a purpose, perhaps, in an earlier script but maybe that part was jettisoned at some point... who knows?

And the chemistry is good between all the actors. It simmers along quite nicely with the odd, fairly well staged action scenes thrown in when they’re needed to pick up the pace... there’s a great scene where Kate and Hawkeye are getting to know each other in a car chase where she is firing off different borrowed trick arrows as they try and escape from a load of thugs. So, yeah, I loved the Christmas feel of the show and it was entertaining enough but not quite hitting on the right amount of mystery to maybe feel like it was somehow more important in the grand scheme of things.

One of the things it does do, however, is act as yet another tie in to the old, non-MCU versions of some of the characters and bring them into the Marvel Cinematic Universe. I believe what’s happened with Marvel, after both their acquisition by Disney and then with the latter company also swallowing up Fox, is that they now have control over all... well, almost all... of their former characters. So at the end of both Spiderman Far From Home (reviewed here), Venom - Let There Be Carnage (reviewed here) and, I’m assuming (as I haven’t seen them yet), The Eternals and Spider-Man No Way Home, they’ve started integrating and folding characters and actors from previous non-MCU Marvel films into their own films. This is also the case with Hawkeye in that, when the main villain is revealed to be Kingpin (who it’s pretty obvious was going to put in an appearance in this), then he’s played by Vincent D'Onofrio, another great actor who played him in the old Daredevil TV show (which I’ve also not seen... yet). So, with the recent, possibly quite tenuous, news that Hugh Jackman may also be returning as a Marvel character he made famous in the X-Men films, it looks like we’re going to be seeing a lot more of this bizarre, cross franchise interpolation for a few years to come, I would think.

And, I’ve not much more to say about this other than, it kept me entertained and I had a blast with some of the Christmas references in the show. For instance, when Hawkeye is trying to teach Kate how to throw by aiming at the TV set controls, she hits it and it switches on revealing James Stewart running through Bedford Falls in It’s A Wonderful Life (reviewed here). But my best Christmas moments in the show were musical, when two of my favourite Christmas albums, Christmas In The Stars (The Star Wars Christmas album) and the great Vince Guaraldi’s incredible score to A Charlie Brown Christmas, were both featured as backgrounds to a couple of scenes.

And, yeah, a short review but not much to say about Hawkeye, I think. This one feels like a much smaller piece than some of the recent MCU TV shows but it’s not the least entertaining of them, for sure. I’m now wondering, since the plot thread was resolved in such a way that people who only watch the films will not know that it’s even happened, if we’ll ever be seeing Florence Pugh back as Natasha’s sister in the franchise. Because, presumably, people who haven’t seen this will wonder why she is not trying to kill Hawkeye the next time they meet. I guess we’ll see how popular that kind of move is away from the comic books (where it’s done all the time) when the time comes, no doubt. I think people will be confused.

Bumblebee

Bumble Door

Bumblebee
2018 USA
Directed by Travis Knight
UK cinema release print.

Wow... it’s getting really dangerous to see an actual movie at the cinema in the UK again.

I thought the days of Draconian censorship were behind us but, no, first Aquaman (reviewed here) and now Bumblebee have both been pre-cut for the UK market to achieve lower ratings on the advice of the BBFC. So let’s be clear about this... if you go to see Bumblebee at a UK (or Australian, apparently) cinema then you are not actually seeing the film, just a highlights only version because, yep, they cut a full 6 seconds out of this thing. Personally I find one frame of film cut to be appalling vandalism but they’ve cut a whopping 144 frames out of this? Between them the BBFC and the studios should be hanging their heads in shame and refunding our money for making us watch things pretending to be films when they’re not the full version. I don’t think this is acceptable behaviour and I find it damned offensive. I won’t say anything more about it in this review but my hands are tensing up right now from writing about these crimes against filmanity because I’m so enraged. It’s not the only thing which enraged me about the movie.

So, okay... let’s go with the big main positive about this film and say that this prequel is the best follow up to the original Transformers we’ve had. It’s not nearly as good as the very first one but it’s way beyond the follow ups which, to be fair, is not saying too much because Transformers 2 - 5 were all, basically, absolute rubbish which I couldn’t believe were coming from the same creative team as the first one.

Although Michael Bay has stayed on with this one as producer, it’s a bit of a sea change here and the writers and directors have gone for a little change of pace. Sure there’s plenty of action in this one but there’s also lots of small stuff about the way the characters relate to each other and grow... in other words, there’s a lot of heart to this one. Something all the other sequels forgot to throw into the mix while they were similarly busy not allowing themselves to slow down from anaesthetising the audience with non-stop action and forgetting that contrasting action with some less kinetic content is what allows the action sequences to have an actual impact in the first place. This one... more or less... gets the mix between the two right and the result is we have a fairly well balanced film.

That being said, I was almost frothing at the mouth within the first five or ten minutes of what was left of this film after the censors were done with it... so enraged I wanted to yell at the screen and walk out.

Why? Well a complete lack of story logic continuity in the opening sequence which completely kills it.

The film starts off on Cybertron with the Decepticons winning the war against the Autobots (lead by Optimus Prime) and we see Bumblebee escaping to earth to await the coming of the other Transformers. All well and good but when we see Bumblebee on Cybertron he is already in the form of a car. Wait, what? It’s well documented in the Transformers movie universe that the various robots need to scan something before they are able to turn into it... and that’s further backed up in numerous scenes in this movie too. Since a car which is built to carry human passengers would be a completely alien concept to the Transformers at this point, then there’s no way any of the Autobots would be able to change into one. Not unless they’d already been to Earth. Oh, I thought to myself, that means we’ll be finding out that Bumblebee has already visited Earth in his past but... no... a minute or two later Optimus Prime tells him he’s located a planet called Earth they can all go to hide on. So... yeah... it makes absolutely no bloody sense that the first time you see the title character he’s in the shape of an Earth made car when he hasn’t even seen a car or knows what it looks like. This is untenable, people and sloppy writers should really be taken to account for bizarrely poor slip ups like this. Especially since it’s going to pop the average viewer right out of the movie while s/he tries to figure out just what the heck kind of story logic is being followed here. Or in this case... unfollowed.

Okay, now that’s out of my system, when Bumblebee gets to Earth things become more like the early, non-action sequences of the original Transformers, with the friendly autobot stumbling around, breaking things and accidentally bumbling his way through doors etc while covertly befriending the main lead Charlie, played by Hailee Steinfeld who I’d just seen... alright, heard... in another film at the cinema as Gwen Stacey in Spider-Man - Into The Spider-Verse (reviewed here) and also her love interest Memo (played by Jorge Lendeborg Jr, who was so brilliant in Brigsby Bear last year... reviewed here). Meanwhile they have to deal with the military from Sector Seven (from the previous films) plus a couple of Decepticons who have misled the military into helping them locate Bumblebee.

And you know what...?

Considering how angry I was at the start of the film, the rest of the story is so well written and performed that I even had tears in my eyes during one of the more moving sequences. Actually, being a prequel, this fits in pretty well with the previous films... apart from that annoying start with the car thing. It’s also really well acted and feels much more like an overall coherent story, rather than just a basic frame to hang set pieces on. Some of the action sequences felt a bit ‘samey’ and dull but at least they were well paced and you still felt like there was a reason to be having them... which I guess is at least half the battle with films like this.

Dario Marinelli’s score is nicely serviceable but it didn’t really seem to share any of the big themes created by Steve Jablonsky for the other ones. At least as far as I could tell because, during a lot of the action scenes, the noise was turned up way too much over the score for it to be effectively heard anyway. It sounded appropriate to the subject matter of the film, though, so that’s something.

Other than that... if you’re a follower of the Transformers movies and have been waiting for something which comes at least even a little close to capturing the lightning in a bottle of the first live action movie then Bumblebee is definitely the one to go see. It’s fairly heart warming and the director certainly has a good go at it. Kids would probably like this one too... even though it seems to be targeting itself at people who were of a certain age in the 1980s when The Breakfast Club was one of the main ‘go to’ movies for a certain generation. Don’t you forget about... this one.