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redcarpetview · 2 months

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Dorinda Clark-Cole, Jonathan McReynolds, Kirk Franklin & More Honored at 2024 BMI Trailblazer of Gospel Music Awards

BMI's Trailblazer of Gospel Music honoree Dorinda Clark-Cole and BMI's President & CEO Mike O'Neill attend the 2024 BMI Trailblazers of Gospel Music Awards on March 28, 2024 at Flourish in Atlanta, GA.

BMI's VP, Creative, Atlanta Catherine Brewton, BMI Champion Award recipient Jonathan McReynolds and BMI's President & CEO Mike O'Neill attend the 2024 BMI Trailblazers of Gospel Music Awards on March 28, 2024 at Flourish in Atlanta, GA.

BMI (Broadcast Music, Inc.) celebrated the best in Gospel music on March 28, 2024 at the 2024 BMI Trailblazers of Gospel Music Awards held at Flourish in Atlanta, GA. Gospel legend and world-renowned evangelist Dorinda Clark-Cole, of the acclaimed Clarke sisters, was honored as a Trailblazer of Gospel Music in recognition of her illustrious career spanning over 50 years. Jonathan McReynolds received the BMI Champion Award, the first time this accolade was presented at this ceremony, for his exceptional artistry and impact on Gospel music.

BMI’s Gospel Song of the Year, Songwriter of the Year, Publisher of the Year and the Top 25 Gospel Songs of the previous year were also announced at the private ceremony hosted by BMI’s President & CEO, Mike O’Neill and Vice President, Creative, Atlanta, Catherine Brewton.

The inspirational luncheon began with a celebration of music and joyful worship, with Tim Bowman, Jr., performing his BMI award-winning song “Jesus,” with Kim Burrell and Faith City Music, co-written with Le’Andria Johnson and VaShawn Mitchell. Zacardi Cortez brought the house down with his BMI award-winning song “You’ve Been Good to Me,” before moving to the event’s main honorees and award-winners.

As a Trailblazer of Gospel Music, Dorinda Clarke-Cole was saluted for her legendary career and contributions to the genre with several powerful tribute performances honoring her legacy. Crystal Aikin’s heartfelt voice kicked things off with “I’m Coming Out,” and Tasha Page-Lockhart brought the audience to their feet with a moving performance of “I’m Still Here.” Yolanda Adams followed with a magnetic rendition of “Take It Back,” with Lisa Knowles-Smith jumping in to help close out the performance. Clark-Cole’s niece Kierra Sheard finished the amazing tribute with an uplifting version of “My Redeemer Liveth.”

Upon receiving the afternoon’s highest honor, Clarke-Cole admitted to being “deeply humbled” and “extremely grateful.” She continued with advice for songwriters saying, “when you are at your lowest, that’s when God can get your greatest… keep writing, keep getting inspired by God because somebody is being blessed.”

After receiving the BMI Champion Award celebrating his outstanding success in Gospel music and beyond, Jonathan McReynolds thanked BMI’s Catherine Brewton and Wardell Malloy for all the love and support they have given him throughout his career. His tribute started with DOE giving a beautiful performance of “Grace” and she also joined Tyree Miller for a duet of “Cycles.” Darrel Walls followed with his resounding rendition of “Lovin’ Me,” and Jason Nelson shared his passionate version of “God Is Good,” which brought the audience to their feet.

Throughout the event, BMI saluted the Top 25 most-performed Gospel songs of the previous year, leading up to the highly anticipated BMI Gospel Song of the Year award, which went to “Kingdom” written by Kirk Franklin, Jonathan Jay, Chandler Moore and Jacob Poole. The song by Maverick City Music X Kirk Franklin debuted at #17 on the Billboard’s Hot Christian Songs chart, #6 on Billboard’s Hot Gospel Songs chart. It also received a 2023 GRAMMY Award for Best Gospel Performance/Song. BMI’s Gospel Songwriter of the Year was a three-way tie between Kirk Franklin, Travis Greene and Tamela Mann for each writing two of the most performed Gospel songs of the previous year. Franklin was honored for “Bless Me” and the BMI Gospel Song of the Year “Kingdom,” Greene for “Finished” and “Tent Revival,” and Mann was also honored for “Finished” and “He Did It For Me.”

BMI’s Gospel Publisher of the Year went to Essential Music Publishing, for the second year in a row.

To join the conversation on social media, follow us @BMI and use #BMIGospel. Please visit https://www.bmi.com/trailblazers2024 to see a full list of BMI’s Trailblazers of Gospel Music Award honorees.

#Music #gospel music #BMI #jacob poole #Maverick City Music #kirk franklin #Travis Greene #Tamela Mann #Essential Music Publishing #BMI Gospel #DOE #Jonathan McReynolds #Tyree Miller #Jason Nelson #Darrel Walls #Dorinda Clarke-Cole #Crystal Aikin #Tasha Page-Lockhart

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scenesandscreens · 8 months

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

Directed by Joaquim Dos Santos, Kemp Powers & Justin K. Thompson, Art Direction by Dean Gordon

"Everyone keeps telling me how my story is supposed to go. Nah. I'm-a do my own thing."

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genevieveetguy · 11 months

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Everyone keeps telling me how my story is supposed to go

Spider-Man: Across the Spider-Verse, Joaquim Dos Santos, Kemp Powers and Justin K. Thompson (2023)

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a-king-named-simba · 11 months

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Yeah, Spider-Verse came out a month ago, but I haven't stopped thinking about it. So y'all get a review for a month-old movie!

#movie review #straight outta pride rock #spider-man: Across the spider-verse #spider-man #shameik moore #hailee steinfeld #brian tyree henry #daniel kaluuya #luna lauren velez #jake johnson #christopher miller #daniel pemberton #david callaham #joaquim dos santos #justin k. thompson #kemp powers #metro boomin #phil lord

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dweemeister · 11 months

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

When Columbia and Sony Pictures Animation released Spider-Man: Into the Spider-Verse in late 2018, the film’s daring visual style brought the art of a comic book to life. For a major American studio that had arguably the thinnest track record in terms of animated features and shorts (yes, I am counting Columbia’s association with UPA), it was a stunning achievement. And it appears its visual influence is only beginning to ripple across cinema, if The Mitchells vs. the Machines (2021) and Puss in Boots: The Last Wish (2022) are any indication. Directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, Spider-Man: Across the Spider-Verse cannot hope to match the first impressions of five years ago, but what a hell of an impression it leaves. Visually, it exceeds its predecessor, but, due to the necessity of its heavily expository multiverse-based screenplay (this film is first part of two), it is the weaker of the extant Miles Morales Spider-Verse movies. When considering the bar set by the previous film, ATSV remains one of the finest superhero films ever made.

Sixteen months after the events of ITSV, Gwen Stacy (Hailee Steinfeld) must contend with the situation that she must keep secret her Spider-Woman identity while her policeman father (Shea Whigham) hunts Spider-Woman down. An incident concerning a villain from a different universe introduces her to the Spider-Society – a group of Spider-People from thousands of universes who assist each other, as well as maintaining the space-time order of their respective universes. Earth-1610 is Miles Morales’ (Shameik Moore) world. There, Miles is still pining for Gwen, as the college admissions process draws near and his parents, concerned about his grades, ask for a conference with the counselor. But the mysterious appearance of The Spot (Jason Schwartzman) seems to be Miles’ more immediate concern. Gwen arrives on Earth-1610 not necessarily to see Miles, but to monitor the Spot’s movements. Miles, not invited to the Spider-Society, falls into the group and learns more about “canon events” and the manner in which he became Spider-Man.

Brian Tyree Henry and Luna Lauren Vélez reprise their roles of Miles’ parents, as does Jake Johnson as Peter B. Parker. Issa Rae, Karan Soni, Daniel Kaluuya, and Oscar Isaac play other prominent Spider-People in this film. The cameos from across Spider-Man media are too numerous to list here.

Phil Lord and Christopher Miller (2009’s Cloudy with a Chance of Meatballs, 2014’s The Lego Movie) and Dave Callaham’s (2010’s The Expendables, 2020’s Wonder Woman 1984) screenplay is hamstrung by the very fact that this film has no resolution. Because this is by design, I will hold most of my fire. However, the pile-up of subplots – Gwen’s relationship with her father, Miles’ relationship with his parents and him missing his late uncle, his developing relationships with the other Spider-People, a reveal that throws into question Miles’ self-belief he is a worthy Spider-Person, Peter B. Parker’s newfound fatherhood and relationship with Mary Jane Watson, tensions between the leader of the Spider-Society and Gwen, etc. – is overflowing, uncontainable, and impossible to treat each one with the developmental (because I understand that not all of these can be resolved yet) respect they deserve. The appeal of Spider-Man is rooted deeply in the ordinariness and day-to-day struggles of whoever dons the suit. Not the spider powers, not the villains, not the multiverse shenanigans, not the humor (of which there is plenty, don’t worry). Those multiverse shenanigans overshadow most of the movie. Only during Gwen’s scenes with her father (ATSV’s strongest moments) and Miles at the very beginning and in the closing chapters of this film does the viewer ever feel the pull of those central Spider-Man themes.

Miles, this series’ primary star, must reckon with the realization that his becoming Spider-Man was a multiverse-related accident, rather than what constitutes as the “normal” way to become Spider-Man – you know, being bit by a spider that came from your universe instead. Through Miles, Lord, Miller, and Callaham are clearly attempting to establish a message that one should reject determinism and wrest control of one’s future for themselves. For me, the execution of that messaging relies too heavily on the metatextual elements related to Spider-Man lore to be as resonant in the first movie, when Miles was addressing more grounded personal problems. But Shameik Moore mostly sells Miles’ doubts in another solid voice acting turn, especially when confronted with the most disapproving of the Spider-People.

Far more effective are Gwen’s troubles with her police captain father. In their universe, her father is undertaking a zealous campaign to find and bring Spider-Woman to justice in the belief that Spider-Woman murdered Gwen’s friend, Peter Parker. Meanwhile, Gwen – living a sort of second life she hides from her father, is beginning to become more emotionally distant from him, and (like Miles) is having difficulty finding a place in her world. The tension-filled scenes between daughter and father, recalling the first issues of the Spider-Gwen series, raise the questions of morality and responsibility that Spider-Man lore is known for. As such, they are the emotional highlights of ATSV – lifting Gwen almost to a co-lead in this movie, and enlivening her storyline beyond her infamous and still-controversial deaths in the mainline Spider-Man comic series and The Amazing Spider-Man film series (2012-2014).

The cutting-edge animation of 2018’s Into the Spider-Verse was breathtaking. For Across the Spider-Verse, the variety of styles somehow make the preceding film look safe by comparison. The multiplicity of styles in ATSV truly allows the viewer to inhabit the idea of a multiverse – better than any multiverse-centric offering Disney’s Marvel Cinematic Universe (MCU) has to offer, and perhaps more convincingly than The Daniels’ Everything Everywhere All At Once (2022; although that movie worked wonders on a fraction of ATSV’s budget). The company logos for Sony, Columbia, and Marvel – flickering in stylized fashion and, in Columbia’s case, brief glimpses of older renditions – provide only the first hint of the animated radicalism to come. Like ITSV, ATSV is also a CGI movie that exemplifies a remarkable fidelity to certain aspects of traditional hand-drawn animation – see character designs and movements. Including blink-and-you’ll-miss-it footnotes during bits of unfamiliar dialogue are a cheeky touch. The fluidity and clarity in which characters move through space during action sequences far surpasses the choreographic incoherence that is endemic in recent MCU films. ATSV takes the very best of comic book and graphic novel artistry and translates that beautifully on the big screen.

Let us take the best-case example in the film. As Gwen’s universe contains the most appealing subplot of the film, so too is it the most aesthetically interesting. ATSV may be a computer-animated film, but Gwen’s Earth-65 appears as impressionist brushstrokes. Gwen, her father, and all those who inhabit that Earth, are animated similarly to those in Miles’ universe. The major difference is the backgrounds. With shades, gradients, brushstrokes, dots, and splashes of off-whites, pinks, and blues, the backgrounds change with each cut – reflecting the direction and moods of a conversation or an action scene. As the dramatic intensity of a conversation increases, the more abstract the backgrounds look. These background changes are but a suggestion; Gwen and her father do not see the dazzling colors flying around and behind them. It is thrillingly experimental stuff for a major Hollywood studio animated work.

Some viewers of ATSV have interpreted Gwen’s story as a transgender allegory (at the very least). The presence, above her room’s door head, of a transgender flag reading “protect trans kids” has fueled further speculation – and bans from cinemas in Saudi Arabia and the United Arab Emirates – that Gwen herself might be transgender. Her universe is emblazoned with the trans flag colors (the whites/off-whites, pinks, and blues mentioned earlier), and the language she employs in her final conversation with her father in this film almost sounds like a coming out. No matter how one interprets this aspect (and there is nothing in the film to prevent one from interpreting her scenes allegorically or literally), it is the finest reinforcement of one of the film’s central theses: that anyone, regardless of gender identity, race, religion, or sexual orientation can be a Spider-Person.

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Like ITSV, much of ATSV’s soundtrack comprises of numerous hip hop songs that are used not so much to complement what is occurring on-screen, but to instead serve as background vibe noise, lyrics barely discernible. This musical direction goes against my beliefs that original and non-original film music have an expressive power. To mute such music so consistently is to deny an opportunity to enhance the expressivity of both the motion picture and music. It just becomes sonic wallpaper, there only to sell soundtracks and pump up music streaming numbers. Either cut the songs or be more selective of the placement of these non-original songs.

Elsewhere, composer Daniel Pemberton’s (2015’s The Man from U.N.C.L.E., 2020’s Enola Holmes) score for ITSV was riddled with heavy-handed electronic manipulation and record scratching, with nary any acoustic elements. Pemberton’s background is in avant-garde electronic music. Appropriate, perhaps, for Miles’ Brooklyn soundscape, but it is deeply unpleasant to listen to outside of the film’s context. With the universe-jumping of ATSV, one musical mode cannot serve the entire film. Gwen’s universe opens with understated, ethereal synth in “Spider-Woman (Gwen Stacy)”. Unfortunately, the musical ideas of Gwen’s universe are never quoted as wonderfully again. Reintroducing Miles and opening his storyline in ATSV is “My Name Is… Miles Morales”, which utilizes Latin American rhythmic complexities in its unmanipulated percussion – already a notable departure from ITSV – alongside Miles’ three-note motif (“SPI-der-MAN!”) from the first film. The traditional orchestra has a larger presence in ATSV, perhaps due to Pemberton’s success in his predominantly orchestral score to Enola Holmes. “Nueva York Train Chase” is one of the major beneficiaries of that orchestral integration. The cue’s thrilling string runs accompany the action magnificently and, combined with enormous hits in the bass brass in the climactic moments, is one of the best action cues in superhero film scoring in some time. Pemberton still resorts to many of his worst habits in his excessive manipulation, but this is a far better score than ITSV’s.

As this write-up heads towards publication, the Writers Guild of America (WGA) is on strike with the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) perhaps soon to follow. Labor practices in Hollywood are under scrutiny as streaming and artificial intelligence (AI) pose to change how studios make movies. Though Sony Pictures Animation is covered under The Animation Guild (TAG), there are reports that artistic input from co-screenwriters and co-producer Phil Lord and Christopher Miller have engendered an unsustainable and unhealthy working environment. Lord and Miller, in their capacity as producers, have a reputation in the animation industry for coming onboard as producers late in production and forcing animators to partake in wide-ranging changes on complete or near-complete work. Their laborious revisionism, say some of ATSV’s animators, comes without a set artistic vision – it is trial-and-error for the sake of it.

In American animation, considerable artistic changes during production are commonplace, but they often take place early on, most typically during storyboarding. Any changes coming later than the storyboarding stage can be a financial boondoggle for a studio and can result in a chaotic animating process. If these anecdotes are true, Lord and Miller are responsible for the film’s high turnover rates and widespread burnout. This behavior should prove incentive for the artists at Sony Pictures Imageworks – despite sharing a corporate parent with Sony Pictures Animation, Vancouver-based SPI is non-unionized and worked on all the physical animation on ITSV and ATSV – to unionize. Scheduled for a March 2024 release, Spider-Man: Beyond the Spider-Verse, due to the alleged aforementioned issues surrounding Lord and Miller, may not be ready in time for its slated debut.

A thunderbolt of animated innovation, Spider-Man: Across the Spider-Verse’s true value will be unknown until Beyond the Spider-Verse’s release. Fast-paced and overstuffed to a fault, ATSV might not have the freshness that ITSV brought. But for a major American animated studio in the early 2020s, this is bewilderingly wonderful work. One just wonders what the animators possibly could have left up their sleeves.

My rating: 9/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

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stuff-diary · 11 months

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Spider-Man: Across the Spider-Verse

Movies watched in 2023

Spider-Man: Across the Spider-Verse (2023, USA)

Directors: Joaquim Dos Santos, Kemp Powers & Justin K. Thompson

Writers: Phil Lord, Christopher Miller & Dave Callaham

Mini-review:

So... remember when I said Into the Spider-Verse was the best superhero movie ever made? Well, I guess I was wrong, cause today I watched Across The Spider-Verse and, even with my insanely high expectations, I was completely blown away. Deep down, I was a bit worried about this movie ending up being some sort of rehash of the things that made the first one so groundbreaking. Now I see I shouldn't have been afraid. ITSV pushed the boundaries of what can be done in mainstream animation as hard as it could, but Across The Spider-Verse goes all out and basically pulverizes said boundaries. It seamlessly moves and jumps between different animation styles and aesthetics, not being awkward or messy for even a single second.

What's more, the movie has a script that can stand side by side with its amazing visuals. The pace is perfect and there are a lot of showstopping action scenes, but the writers made sure to give the characters the depth they deserve. The messages at the core of the movie are beautiful, and I loved the way certain colors and imagery are used to clarify what the movie is truly talking about. There are also many easter eggs, but they are handled in a way that makes them fun even for people who don't know much about Spider-Man's lore. Anyway, as I said at the beginning, Spider-Man: Across the Spider-Verse might just be the best superhero movie ever made. Now we have to wait and see whether the trilogy's grand finale can top this one.

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kermodefan94-blog · 1 year

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Spider-Man: Across The Spider-Verse. First Impressions.

Even from the perspective of an animation fan having seen every major US theatrical offering in its first run for the past 20 years, it’s hard to underestimate what an instant impact Spider-Man: Into The Spider-Verse had. Lord and Miller plus their creative teams had of course laid the groundwork with their work on The Lego Movie and its popularization of the 2.5 D animation style ( technical…

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#Amandla Stenberg #Andy Samberg #Brian Tyree Henry #Christopher Miller #Daniel Kaluuya #Hailee Steinfeld #Issa Rae #Jack Quaid #Jake Johnson #Jason Schwartzman #Joaquim Dos Santos #Justin K. Thompson #Karan Soni #Kemp Powers #Luna Lauren Velez #Oscar Isaac #Phil Lord #Shameik Moore #Shea Whigham

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milliondollarbaby87 · 1 year

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Spider-Man: Across the Spider-Verse (2023) Review

Miles Morales is about to explore more of the Mulitverse when he sees it as a goal to join the team of Spider-People who are protecting its very existence, but is he a help or a hinderance? ⭐️⭐️⭐️⭐️⭐️ Continue reading Untitled

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agentnico · 1 year

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Spider-Man: Across the Spider-Verse (2023) Review

Oh. My. Gosh.

Plot: Miles Morales catapults across the Multiverse, where he encounters a team of Spider-People charged with protecting its very existence. When the heroes clash on how to handle a new threat, Miles must redefine what it means to be a hero.

2018′s Into the Spider-Verse was a surprising hit that featured some of the most amazing animation ever put to screen, as well as being not only one of the best Spidey films, but also one of the top comic-book movies of all time. Additionally the inclusion of Nicolas Cage propelled that film to all kinds of new heights! Now following a successful box office run of that movie and a well deserved Academy Award win for Best Animated Feature, the first of two sequels is gracing our screens, and I am always weary when it comes to sequels to great movies, as one wonders if the creative team can retain the magic from the original.

At this point there should be a rule made in Hollywood to never bet against the duo that are Phil Lord and Chris Miller. Every time we find ourselves shocked whenever films involving these two come out and end up being some of the most superb cinema experiences. 22 Jump Street - a hilarious comedy. The Lego Movie - a uniquely animated movie that turns out to be much more than a simple cash-grab. Mitchells vs. the Machines - again another ground-breaking animation style with a wholesome story of family in the middle of it. Cocaine Bear - it’s a movie about a bear on cocaine, need I say more?! The list goes on, these two consistently deliver quality content and we should learn to accept this. So with Across the Spider-Verse I am happy to report that it’s another hit from these producers/writers, however not only is it a hit, it may just be a bloody masterpiece!

Spider-Man: Across the Spider-Verse is, put simply, brilliant! It’s everything that made Into the Spider-Verse great dialled up even more, and the result is honestly fantastic. Look, I watch a lot of movies. And yeah, movies are great and I love them deeply. But in watching so many films I have in a way lost that magic of being in awe every time I go to the cinema. Cliches and repetitiveness in films stick out like sore thumbs to me. However with Across the Spider-Verse I felt like a kid again, purely stunned in amazement at every single frame, engaged with the characters and story-line, not knowing where it will go next. Like I cannot reiterate how much fun I had watching this movie!

The animation...where do I begin? This is a gorgeous movie that retains that graphic novel look from the first movie, however due to the narrative being set in various universes, the animation team go a step further by having each reality animated in a different way. There are so many various art-styles used, and each one is absolutely gorgeous. Yet it never comes off as pretentious, instead all used in benefit of the story. There’s a certain sequence involving two characters having a dramatic emotional exchange of dialogue, and the use of watercolours and the changes in the background as the emotion changes throughout that scene was honestly some of the best and most powerful piece of animation I’ve ever seen. Not only the animation though, but the music. The music!!! Anyone seen that meme online featuring a guy playing a piano that’s on fire? Well that’s how hard composer Daniel Pemberton went with the musical score of this film. The way it amplified the action, embodied the tenderness of the emotional scenes, and played up to each character’s unique style, the music and sound design were absolutely spectacular! From a technical standpoint Across the Spider-Verse is a marvel.

There’s a lot of going on in this movie. It’s relentlessly fast paced, with lines of dialogue spilling out like Niagara falls and so many jokes, Easter Eggs and references thrown all at once that it’s easy to miss things on your first viewing. So I imagine this movie will serve well as a rewatchable one, so that you can catch the details you’ve missed before. However through all this content thrown at you at 100 miles per our the movie never forgets to stay focused on telling its story, and fleshing out all the main characters. And yes, there are lots of characters in this movie, yet every single one feels unique with many layers, and that’s due to the writing and the superb voice cast. Shameik Moore is freaking amazing as Miles Morales. That tone of vulnerability, this maturity but still immaturity cascading and once more evolving the character from the first film... you can’t help but root for him and also believe in him. Hailee Steinfeld is wonderful as Gwen Stacy, that is both vulnerable yet strong, trying to navigate her way through life whilst dealing with the dysfunctional relationship with her dad and having to be the hero she is meant to be. Also it’s always impressive when actors can portray good chemistry using only their voices, yet Moore and Steinfeld have that to a tee. Oscar Isaac (who was but only teased in the credits scene of the first film) is appropriately moody with a dark edge, showing hurt, anger and fire in every line he delivers as the anti-hero Miguel. Jason Schwartzman as Spot has that usual comedic every-guy demeanour to him, however his character is then revealed to be more reckless than expected, and Schwartzman is easily believable as the psychotic villain wanting to dominate to prove his worth. Brian Tyree Henry as Miles’ dad, Daniel Kaluuya as a punk Brit Spidey, Shea Whigham as Gwen’s father....the list goes on. Honestly every member of the voice cast does incredible work. You end up caring for these characters, and are fully invested in them.

In terms of negatives there aren’t really many. I’d say to the beginning the movie focuses a little too much on exposition of bringing everyone up to speed on the events of the first movie, and I’m just there like “I’ve seen the first movie, get on with it already!” and also the fast pace delivery means certain lines of dialogue are thrown so quickly they are easily missed, yet again though, I feel that in rewatching the film multiple times I will find enjoyment it catching out those missed details. In the end though, Across the Spider-Verse is a fantastic Part 1 to a story that is left at an expected cliff-hanger ready to be picked up by next year’s Beyond the Spider-Verse, however as a middle movie of a trilogy it stands strong along the likes of Empire Strikes Back or The Two Towers, in that it continues to flesh out the characters in a meaningful and powerful way, the animation and music is ridiculously good, and overall it’s one of the best superhero films I have ever seen. Also, it manages to deliver the idea of a multiverse much better than anything the MCU is currently attempting to do, so yep, also a solid multiverse movie. There’s plenty of fan-service thrown in throughout though I never thought it felt forced, and overall this is simply superb filmmaking. Can’t wait for Beyond the Spider-Verse!

Overall score: 9/10

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