After sitting through all two-and-a-quarter hours of “Spider-Man: Across the Spider-Verse,” the latest animated adventure of the universe jumping superhero, your spidey senses won’t be the only thing left tingling.
A wild pop culture pastiche of visual styles that jumps off the screen in ways that will give your eyeballs a Charles Atlas style workout, it is a full-body experience on the big screen.
Gwen Stacy (voice of Hailee Steinfeld) and Miles Morales (voice of Shameik Moore) return from 2018’s “Spider-Man: Into the Spider-Verse.” Both are he off-spring of police officers, and both have secret identities as Spider-Woman and Spider-Man, respectively.
When Gwen becomes estranged from her father, she disappears into the Spider-Verse, a series of connected but independent universes, each with its own brand of Spider-People. As The Spot (voice of Jason Schwartzman), a villain covered in portals that allow him to transport from place to place, threatens to shred the very fabric of the Multi-Verse, Gwen and Miles go interdimensional to fight the new threat.
There they find Spider-HQ, sore of a Quantico for all various and sundry Spider-Folks, like Spider-Woman (voice of Issa Rae), Spider-Punk (voice of Daniel Kaluuya) and alpha arachnid Miguel O’Hara (voice of Oscar Isaac). When Mile inadvertently disrupts the Spider-Verse he learns an important lesson about the sacrifice required to be a Spider-Man.
“Spider-Man: Across the Spider-Verse” is a spider web of Marvel mythology, relationship drama, action and some very funny moments, combined with extraordinary, state-of-the-art visuals. In the action scenes, co-directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson pull out all the stops to create a singular experience that has more to do with the anarchic spirit of the original comic books than the recent spate of superhero movies. Stylish and frenetic, the action scenes are so colourful they often look like an artist’s paint-palette exploded on the screen.
When the film isn’t in motion, it takes the time to explore the relationships between parents and kids, with the added twist of superheroes trying to figure out their place in the world (or should that be worlds?), while trying to navigate their teens. It adds themes of loneliness, responsibility vs. obligation and having autonomy over one’s own life. Through Gwen and Miles, and a heaping helping of action, the importance of writing one’s own life story is the focus of the story.
Ultimately, the success of “Spider-Man: Across the Spider-Verse” isn’t simply about the eye-popping nature of the visuals or the humour or the emotional aspect of the story. All are great, but what makes it special is that it feels fresh. It’s a superhero movie, with all the world saving tropes you expect, but it feels more like a comic book come to life than most, if any, other superhero flick.
Amy Poehler’s feature directorial debut, “Wine Country,” is the story of friends brought together for a birthday but it is also a real-life comedy reunion. Poehler and co-stars Tina Fey, Maya Rudolph, Ana Gasteyer and Rachel Dratch made their comedy bones on “Saturday Night Live” and reunite now in an ode to female friendship.
Poehler plays Abby, the under-employed a-type organizer of a Napa getaway for her therapist friend Rebecca’s (Dratch) 50th birthday. “I want this to feel like a regular vacation,” says Rebecca. “We’ll sit around, talk, wear muumuus and somewhere in there I’ll slide into 50.” Of course, it won’t be that simple. Abby’s perfectionism, not to mention her minute-by-minute itinerary, doesn’t sit well with the others who have their own issues. Entrepreneur Catherine (Gasteyer) is a workaholic, always checking her cell phone. “Life’s a juggle,” she says. Jenny (Emily Spivey, who also co-wrote the script) is agoraphobic and doesn’t want to leave her room while mother of four Naomi (Rudolph) is avoiding her doctor’s phone calls and Val is involved with a much younger woman.
They came together to rest, relax and reconnect but as the weekend progresses the words of Tammy, owner of their Airbnb appear to come true. “Just remember,” says Tammy (Fey), “whatever gets said is probably what the person has always thought and alcohol just let it out.”
Before it gets to its ultimate “it’s later than you think” message “Wine Country” is a charming collection of physical humour—it’s always funny when somebody falls down—mom jokes—“I thought MDMA was that extreme fighting where they do cocaine and fight,” says Val.—and some very specific in-jokes—“Life is too short to wait for the paella.”
Poehler plays much of this for laughs but doesn’t forget to create memorable moments. A long close-up on Abby’s face as she makes a decision is both funny and telling of her state of mind. The bickering between the friends as secrets come to light has a delicate touch but underneath the gags are real insights about the life events that drive wedges between lifelong besties. Light but heartfelt, it’s a celebration of adult female friendship in all its forms from Naomi’s enthusiastic “let’s party till our panties fly off” call to arms to the film’s more tender moments.
“Wine Country” is at its best when it showcases the chemistry of the performers. Pop psychology and pratfalls aside, it’s great fun to spend time with these women as they figure out their lives and relationships.
Tina Fey and Amy Poehler have such great chemistry together it’s almost as if they’re sisters from different misters. I guess that’s why their new movie, “Sisters” feels like a natural fit. Seeing the pair together it feels inevitable that one day they would move beyond sharing the stage at award shows and on to playing siblings.
They play Jane and Maura Ellis, middle-aged sisters at different places in their lives. Jane is a single mom who can’t hold on to a job. Maura is a nurse who always tries to help people… even if they don’t want her help.
When their parents (Dianne Wiest and James Brolin) decide to simplify their life, sell the family home and move into a senior’s complex in Orlando, the girls are called home to clean out their rooms. Being in the house dredges up memories of the past so they decide to revisit their glory days by throwing one last blow out before they turn the house over to the new owners.
“Sisters” feels a bit like a “Saturday Night Live” reunion. Ex-SNLers Maya Rudolph, Kate McKinnon, Rachel Dratch and Bobby Moynihan all make appearances in a movie that has about as much story as the average SNL skit. The laughs are there, particular when the action heats up midway, but “The Blind Assassin” this ain’t. It’s a simple comedic premise squeezed for giggles by a likeable cast.
At the helm of “Sisters” are Fey and Poehler, comic actors who play the material broadly but still manage to ground Jane and Maura in reality. On the other hand Moynihan goes full bore into a part Chris Farley might have played and while the movie is more fun when the cast run out of control, it’s Fey and Poehler’s rare quiet moments that humanize the story.
