Movie reviews: 'Spider-Man' a wild pop culture pastiche of visual styles

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.

There they find Spider-HQ, sort of a Quantico for all various and sundry Spider-Folks, including Spider-Woman , Spider-Punk and alpha arachnid Miguel O'Hara . When Miles inadvertently disrupts the Spider-Verse, he learns an important lesson about the sacrifice required to be a Spider-Man. 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.The Boogeyman may be the most prevalent and terrifying creature to haunt the night.

At first, Sadie and Sawyer’s fear of this mysterious presence is brushed off as a “manifestation” of their imaginations. That quibble aside, “The Boogeyman” is an effective slow-burn tale of terror. It takes its time with the scares, introducing jump scares and slamming doors early on, building anxiety and tension, before getting face-to-face with the face of evil.

Jumping through time from the 1800s to the 2020s, the story of the intergenerational trauma caused by the Canadian residential school system focuses on the family of Aline Spears , a Cree woman born to a large, happy family in 1930s Manitoba. Everything changes when Aline and her siblings are forcibly taken from their parents, who are told they will be thrown in prison if they don’t sign over their children to the residential school system.

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