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With ‘Across the Spider-Verse,’ Phil Lord and Chris Miller ‘blow the doors open’



With 'Across the Spider-Verse,' Phil Lord and Chris Miller 'blow the doors open'

Aside from the inverted skyline, the only giveaway that something is off in one of the most striking images of “Spider-Man: Across the Spider-Verse” is the ponytail that’s sticking straight up in the air.

Gwen Stacy (voiced by Hailee Steinfeld) and Miles Morales (Shameik Moore) have just reunited in the “Into the Spider-Verse” sequel. After giddily swinging through New York skyscrapers, they perch themselves on the underside of a clocktower ledge. Their view is ours: An upside-down city, shimmering in the distance.

“Everything is the wrong way, but if feels right,” says Phil Lord, who wrote and produced “Across the Spider-Verse” with Christopher Miller.

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. They’ve turned seemingly terrible ideas — a Lego movie, a “21 Jump Street” movie — into original works of antic, innovative comedy. One of their crowning achievements, the Oscar-winning “Into the Spider-Verse,” took a hatchet to superhero movie conventions. 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. 


“With that mask that covers an entire body and face, you can imagine yourself in that suit,” says Miller. “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.”

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. It might be their masterpiece. 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 was an opportunity to show the limitless possibilities of animation in a studio film,” says Miller. “For too long, the studios were mandating that these films all look the same. And we wanted to blow the doors open on that.”

“Across the Spider-Verse” certainly blasted expectations on opening weekend. It debuted with $120.5 million, way above tracking estimates and more than triple what “Into the Spider-Verse” launched with. What was once a quirky minor player in the hulking world of superhero movies has turned into not just a blockbuster but a genuine pop-culture sensation and, maybe, a new high point in comic-book movies.

“When you have the confidence of the audience like I hope we have from the first movie, you sort of want to use it as a springboard to take more chances,” says Lord. “We couldn’t justify doing this with any other story or any other point in our careers. We were like: Let’s swing the biggest bat we can.”


“Across the Spider-Verse,” directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson, continues the story of Miles, now a veteran crime-fighter but also a teenager with an increasingly strained relationship with his parents. They remain unaware of his secret identity.

But much isn’t straightforward in “Across the Spider-Verse,” which Lord and Miller penned with David Callaham. There are countless other parallel Earths, each with their own Spider-Person. One is Gwen (Hailee Steinfeld), Spider-Man’s traditional love interest who’s now a potent force, herself. Worlds collide, many times over.

There’s also a Spidey collective that keep these universes in balance by making sure certain canonical moments happen for each hero. There may be wide latitude in who can be Spider-Man, but a foundation of formula must be obeyed.

This battle with Canon is in many ways Lord and Miller’s fight, too. They’ve spent their careers deconstructing convention and inverting tropes. They have sometimes pushed right up against Hollywood’s limits. In mid-production on “Solo,” the Han Solo standalone “Star Wars” film, they were famously replaced after a clash over the film’s tone.

“Across the Spider-Verse,” a part two ending in an abrupt cliffhanger, plunges directly into the question: So what is gospel for Lord and Miller? Is anything?


“Who seeks to become an artist in order to be a column that upholds the temple?” says Lord, laughing. “That’s no fun.”

The “Solo” kerfuffle might have been their “Network” moment. (“You have meddled with the primal forces of nature, Mr. Beale.”) Instead, Lord and Miller have, if anything, doubled down on their devotion to tearing up Hollywood playbooks.

“We have a natural aversion to the dangers of nostalgia. It can be a calcifying effect on people,” says Miller. “There’s a lot of anger and hate coming out of wanting to preserve things the way they’ve always been. That’s not how society works. We need to keep evolving and making things new and growing. We can’t just perfectly preserve the past.”

“The movies you love were all daring in their time,” adds Lord. “The idea isn’t to copy them. It’s to be as equally daring as ‘Snow White’ or ‘Toy Story’ or ‘Jaws.’”

Their collage-like films, like Michael Rianda’s family road trip “The Mitchells vs. The Machines,” are often in some way contemplating humanity in increasingly digital worlds. Lord and Miller were behind the meme-turned-movie “Cocaine Bear” earlier this year.


Set to a modern hip-hop beat and chock-full of ever-changing shocks of color that channel the 2-D art of comic books, “Across the Spider-Verse” summons multiverses with the ease of a keystroke. But it does so far more playfully, disorderly and distinctly un-algorithm-like. Striving for originality, they say, is “how to keep the robots guessing.”

“The AI isn’t going to generate something new and original,” says Miller, who along with Lord, is an outspoken Writers Guild member in the current strike where artificial intelligence is a top issue. “It’s going to just do an imitation of the things that came before it. It’s our job as humans to keep making things new.”

But as dizzying as “Across the Spider-Verse” can be visually, the imagery is ultimately in service of its central characters’ inner lives. To the 28-year-old Moore, Miles’ appeal isn’t that he’s exceptional. It’s that he’s recognizably ordinary.

“There are young Black kids that are just like Miles. Regular, cool, kinda nerdy, weird, loveable kids. Same thing on the Hispanic side,” says Moore. “People want to meet him. My lines at Comic-Con are insane.”

Moore never received a script for either film, just a sense of major plot points. Three times a month, for four years, he would go into a recording booth for six-hour sessions with Lord, Miller and the directors.


“They’ll play with it for hours. We’ll do another session where they lock in on whatever they like the most and then they’ll play with it again. It’s really like they’re having fun, more than anything,” says Moore. “The whole project is being treated like a passion project. It doesn’t feel like someone is watching over them.”

At the same time, “Across the Spider-Verse” grapples with not just the responsibilities of Spider-Man (Miles) but of his anxious, doubting parents (Brian Tyree Henry and Luna Lauren Vélez) and Gwen’s disapproving father (Shea Whigham). It’s a coming-of age-story, but as Miller says, “the parents have to come of age, too.”

“And what makes someone legitimate?” says Lord. “Do you seek that outside of yourself? Or can you simply seek your own approval? Miles is like all of us hoping for validation outside. But it can never really satisfy you. You have to take it on yourself. Even though the movie ends in a cliffhanger, I think that’s what he achieves. It’s an epic action movie where the story is really internal. He’s the MacGuffin.”

Some of the same questions exist for Lord and Miller, both 47 and increasingly prominent power players with a long pipeline of projects in development. Later this summer they have the R-rated dog comedy “Strays” in theaters. Even a live-action movie for Miles is in the mix.

“You always feel like an outsider even if you’re working inside these big companies,” says Miller. “Otherwise, you become the Empire.”


“Beyond the Spider-Verse,” the third film in the trilogy is due out in less than a year, on March 29. It will bring to a conclusion Miles’ looming battle with Spider-Man Canon. Just how far Miles — and Lord and Miller — are able to stretch the Marvel webslinger will be put to a final test.

Given who’s behind these films, don’t put a lot of money on Canon emerging victorious.


‘Expend4bles’ opens with epic flop while ‘Nun 2’ claims top spot again at the box office




Expend4bles' opens with epic flop while 'Nun 2' claims top spot again at the box office

Sylvester Stallone and Jason Statham weren’t enough to save “Expend4bles” from a debut box office flop. The fourth installment suffered the action-packed franchise’s worst opening weekend while “The Nun 2” took home the top spot for a third straight week, data firm Comscore reported on Sunday.

The Lionsgate and Millennium’s film, also known as “Expendables 4,” pulled in a mediocre $8.3 million for the big-budget project. It starred several popular names, including Stallone, Statham, Curtis “50 Cent” Jackson, Megan Fox and Dolph Lundgren. It’s been nearly a decade since the franchise released a film, which opened with $15.8 million and eventually grossed $214 million globally.

But times have certainly changed, as the film barely placed second behind “The Nun 2,” a horror movie that earned $8.4 million in its first week. It’s been a solid start for that Warner Bros.’ project — a spinoff from the lucrative “Conjuring” franchise. So far, the Michael Chaves-directed sequel has grossed more than $69 million.

“It’s a star-studded franchise, but horror is a different situation,” said Paul Dergarabedian, the senior media analyst for Comscore. “It just seems no matter what if you’re scared in the movie theater a couple times in an hour and a half or two, that’s worth the price of admission.”


In third, “A Haunting in Venice” earned $6.3 million. Kenneth Branagh’s third Agatha Christie adaptation, following 2017’s “Murder on the Orient Express” and 2022’s “Death on the Nile,” has drawn in over $25.3 million after two weeks.

“The Equalizer 3,” starring Denzel Washington, only dropped to fourth place with $4.725 million. In four weeks, it has grossed $81.1 million domestically.

“Barbie,” the biggest movie of 2023, is still carrying some momentum from the summer into the fall season. The Greta Gerwig box-office smash ranked in the top five, earning $3.2 million this week and a domestic total of more than $630 million after a 10-week period.

Sixth place went to “My Big Fat Greek Wedding 3,” with $3 million, while “It Lives Inside” opened its first week with $2.6 million. The Sony film “Dumb Money,” a dramatization of the GameStop stock frenzy, stayed put in the eighth position for a second week in a row with $2.5 million.

“Blue Beetle” fell to ninth, with $1.8 million, and “Oppenheimer” rounded out the top 10 with $1.6 million. The Christopher Nolan film has garnered $321 million domestically.


In all, it was another slow output for box office figures as many Hollywood projects are still on hold due to the ongoing Screen Actors Guild-American Federation of Television and Radio Artists, and Writers Guild of America strikes.

This weekend grossed the lowest since Dec. 9, 2022, Dergarabedian said. It was also the first time since the weekend of Feb. 10, 2023 to not have a movie earn over $10 million.

But Dergarabedian said a “spectacular October” could be on the way with the much-anticipated “Taylor Swift: The Eras Tour” concert film, “The Exorcist: Believer” and “Saw X.”

“Things are going to change next week or the weeks after when Taylor Swift hits the multiplex,” he said. “This is the natural ebbs and flow of the box office. That means one thing: We’ll be back to normal.”

Estimated ticket sales for Friday through Sunday at US and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.


1. “The Nun II,” $8.4 million.

2. “Expend4bles,” $8.3 million.

3. “A Haunting in Venice,” $6.3 million.

4. “The Equalizer 3,” $4.7 million.

5. “Barbie,” $3.2 million.


6. “My Big Fat Greek Wedding 3,” $3 million.

7. “It Lives Inside,” 2.6 million.

8. “Dumb Money,” $2.5 million.

9. “Blue Beetle,” $1.8 million.

10. “Oppenheimer,” $1.6 million.


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When will Saudi Arabia’s first cinema event take place?




When will Saudi Arabia's first cinema event take place?

First time in the history of Saudi Arabia, a cinema event is being organised on Oct 1 in Riyadh. 

According to a media outlet, about 100 people will participate in this event titled “Saudi Film Forum.” As many as 50 important speakers will speak on the occasion and the event will conclude on Oct 4. 

The media reported that this would be the first event of its kind in the kingdom to be held at the Boulevard City Exhibition Hall in Riyadh. The aim of the event is to transform the film industry into a major contributor to the Saudi economy.

Following the initiative, the film industry will be able to achieve sustainable and renewed economic growth by expanding investment opportunities and cooperation through exchange of experiences. 


Renowned filmmakers, producers, directors, investors and international media persons will join the gathering so that they could ascertain the reality and future of filmmaking in Saudi Arabia. 

Workshops and several other sections including Inspiration Zone, Innovation Zone, Interactive Activities Zone, Experiences Zone and Business Zone are also part of the event.

The media reported that Saudi Film Commission CEO Engineer Abdullah Al Ayyaf had described the forum as a major success for the film industry.

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Hamaima Malik’s photoshoot in pool attracts fans




Hamaima Malik's photoshoot in pool attracts fans

Fans of Humaima Malik are very much surprised to have a look of her recent photoshoot in the swimming pool. 

The actor shared a few videos of the photoshoot in the pool with her fans on the Instagram. Her photoshoot invited a number of comments from the fans. Hamaima Malik’s unique pose in the pool is being loved by the fans.

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