In “Across the Spider-Verse” - an eyeball-delighting, electrically animated whirligig of color and sound - Lord and Miller set out not just to surpass the high bar of their 2018 original but upend big-studio animation and the more-of-the-same expectations of sequel-making. It took nearly five years, a crew of a thousand and a cavalcade of Spider-People, but the second chapter of Miller and Lord’s “Spider-Verse” series has arrived. “The whole goal of this trilogy was to let everybody feel like it could be me, and show as many different types of people - and animals - being Spider-Man as possible.” “With that mask that covers an entire body and face, you can imagine yourself in that suit,” says Miller. Spider-Man, for the first time, was a biracial kid from Brooklyn. He was also, thanks to a mosh pit of multiverses, just about anyone, or anything, you could think of. One of their crowning achievements, the Oscar-winning “Into the Spider-Verse,” took a hatchet to superhero movie conventions. They’ve turned seemingly terrible ideas - a Lego movie, a “21 Jump Street” movie - into original works of antic, innovative comedy. In the movies of Lord and Miller, a filmmaking duo since they met in college at Dartmouth, down is frequently up, and up is often down. “Everything is the wrong way, but if feels right,” says Phil Lord, who wrote and produced “Across the Spider-Verse” with Christopher Miller. Their view is ours: An upside-down city, shimmering in the distance. After giddily swinging through New York skyscrapers, they perch themselves on the underside of a clocktower ledge. Gwen Stacy (voiced by Hailee Steinfeld) and Miles Morales (Shameik Moore) have just reunited in the “Into the Spider-Verse” sequel.
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