Spider-Man: Across the Spider-Verse: Just a masterclass in delivering a sequel that raises the stakes and expands the scope of its universe while doubling down on what made the original great. No matter how many new characters it introduces (Spider-Man 2099, Spider-Woman, Spider-Punk, Spider-Man India, new antagonist The Spot-voiced by Oscar Isaac, Issa Rae, Daniel Kaluuya, Karan Soni and Jason Schwartzman respectively) or worlds it explores, Across the Spider-Verse is still anchored by Miles Morales' (Shameik Moore) and Gwen Stacy's (Hailee Steinfeld) individual quests for identity, purpose and carving out their own definition of heroism amid pressure to conform to the strict code of those who came before them as well how their separate but parallel journeys manage to affect their own relationship.
These character arcs also happened to be seamlessly intertwined into the most lively, interesting and emotionally-grounded portrayal of the multiverse that we've seen in a Marvel property. Much like the Daniels did on Everything Everywhere All at Once, the way to get the most out of this universe-hopping concept is to spend more time focusing on how these potentially catastrophic alterations to space and time can affect the humans at the center of it instead of getting really bogged down with the pseudo-scientific mechanics that make the practice possible. Humanity is the secret sauce that is at the center of nearly all great superhero works and Spider-Verse's emphasis on valuing the people underneath the Spider suits over their web-slinging powers is the best thing about these movies (along with the mind-blowing animation, that is somewhat even more richly detailed, completely distinct and just plain beautiful-of course). Fingers crossed that Beyond the Spider-Verse can keep its current March 2024 release date because I'd love to return to this world as soon as possible.
Grade: A-
The Boogeyman: Execution being more important than originality in the world of film and television is a philosophy that I deeply believe in. Rob Savage's The Boogeyman is the latest piece of cinematic art to fall under this umbrella. This feature adaptation of a 1973 short story by Stephen King overcomes its paper thin exploration of grief and a familiar pattern of jump scares that don't always deliver their intended jolts by being a well-crafted supernatural horror flick that's able to build an immersive world where evil is lurking in the darkness waiting to strike while its prey is at its most vulnerable. Through its excellent use of lighting/shadows and sound (or lack thereof), Savage, cinematographer Eli Born and editor Peter Gvozdas construct a string of creepy sequences that slowly gives the audience closer looks at the titular creature to build up intrigue/fear before finally unleashing the monster in all its grotesque glory in the final act, the leading duo of Sophie Thatcher and Viven Lyra Blair-who play sisters that are reeling from the recent death of their mother and the cold, distant behavior their therapist father (Chris Messina) has displayed in the aftermath-do a good job of conveying the pain of the loss of their mother and the fear of experiencing more loss at the hands of this bloodthirsty supernatural entity despite the bare-bones nature of the writing and the ending, while not exactly tragic, is an effectively sobering reminder that the fight against whatever specific demons an individual or family faces following a tragedy is one that is never really over and must be waged every single day. Disney deserves credit for giving a movie that's driven by its technical prowess and mood a proper theatrical release/push since The Boogeyman just wouldn't have played as well at home.
Grade: B
Sanctuary: Sanctuary is like if a heavyweight prize fight took place between two people that seek to eviscerate the other while also wanting to bang the shit out of them. Christopher Abbott and Margaret Qualley provide ample psychosexual fireworks as they aggressively flirt, toy with and attempt to humiliate each other inside of a swanky Denver hotel suite for 95 minutes as they battle for the upper hand in a business break-up gone horribly wrong. The shifts in the power dynamics rapidly flip back and forth until it reaches a wild conclusion that makes perfect narrative sense, the active camerawork adds a dash of style to the proceedings without sacrificing any of the relative claustrophobia that the setting provides and Abbott and Qualley remind the world why they're two of the most exciting yet unsung actors working today by fearlessly submitting themselves to the sick, sexy rhythm of this darkly comedic thriller and producing two of the most commanding performances of their careers thus far as a result. If this sounds appealing to you, be sure to rush out and see it before it gets booted out of the non NYC/LA theaters that it just got released into within the next 10 days.
Grade: B+
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