‘Spider-Man: Across the Spider-Verse’ Is A Dazzling, Incomplete Spectacle

‘Spider-Man: Across the Spider-Verse’ Is A Dazzling, Incomplete Spectacle

By Alex McPherson

An eye-popping feast for the senses whose visual inventiveness can’t compensate for a restrictive middle-chapter narrative, “Spider-Man: Across the Spider-Verse” is consistently engaging but will play best for those already well-versed in Spider-Man lore.

Taking place 16 months after the events of “Into the Spider-Verse,” the film follows the exploits of 15-year-old Miles Morales (Shameik Moore), who struggles to balance his superhero role as Spider-Man with the more traditional responsibilities (i.e., attending classes) expected by his strict yet loving parents, Rio (Luna Lauren Velez) and the soon-to-be-police-chief Jeff (Brian Tyree Henry), who are unaware of his alter ego.

Miles, a rebellious teenager experiencing loneliness and heartbreak from his (literally) “out of this world” spider-people companions, including badass crush Gwen Stacy (Hailee Steinfeld), feels adrift and unable to fully express himself — yearning for freedom and belonging.

Gwen, in her own dimension, is similarly struggling to find acceptance and meaning; her father, George (Shea Whigham), a police chief, discovers her identity as Spider-Woman and blames her for the death of her timeline’s Peter Parker. After battling a monochromatic variation of The Vulture, Gwen is recruited by a team of Multiverse protectors — including the motorcycle-riding Jessica Drew (Issa Rae) and the brooding Spider-Man 2099, a.k.a. Miguel O’Hara (Oscar Isaac) — running from her now-perilous bond with her father. Soon enough, however, she’s called back into Miles’ orbit to tackle a new threat.

A bespeckled, self-deprecating foe named The Spot (Jason Schwartzman) shows up in Miles’ reality — brimming with hatred for Miles due to a past wrong that left him covered with holes through which he can teleport across great distances. He’s champing at the bit to become Miles’ “nemesis,” getting stronger by the moment in his fierce desire for revenge. 

Things get even more complicated when Gwen shows up, reigniting her situationship with Miles, and prepares to leave once The Spot teleports elsewhere. Miles ends up following her into an interdimensional portal revealing a whole society of Spider-Beings, including the jovial Spider-Man India (Karan Soni), the unruly, punk rock Hobie Brown (Daniel Kaluuya), seemingly assembled from scraps of paper, and a hulking Spider-Tyrannosaurus, each manifested through different animation styles.

It’s not all sunshine and rainbows, though, as not only has The Spot gained enough power to pose a tangible threat to the Multiverse as they know it, but Miles must continue to fight against fatalistic, predetermined beliefs that restrict his free will on a universe-altering level.

Indeed, “Across the Spider-Verse” certainly has a boatload of information to convey to viewers, and to be honest, some of it soared over my head. This remains the sequel’s greatest flaw: no matter how excellent it looks and how well the talented ensemble brings these characters to life, the film remains ham-strung by a desire to be bigger in the classic sense, leaving its most compelling thread dangling by the end as we wait for the next installment in 2024. 

Directors Joaquim Dos Santos, Justin K. Thompson, and Kemp Powers certainly have a keen sense of spectacle, seamlessly blending art styles together that reflect characters’ specific views of the world and their distinct, variably layered personalities. From a watercolor backdrop melting from mournful blue to hopeful pink with the thawing of emotions, to a brief detour into stop-motion animation straight out of “The Lego Movie,” and frantic action sequences throwing characters of all styles at the screen at once, packing in multitudes of nerd-culture references along the way, “Across the Spider-Verse” is equal parts mesmerizing and fatiguing by the end of its 136-minute runtime, boosted by a thumping, energetic score by Daniel Pemberton and a catchy soundtrack. The passion poured into this project by everyone involved is apparent from start to finish, at least from a presentation standpoint.

“Across the Spider-Verse” still falls prey to sensory overload in its second half, just like its predecessor, but is refreshingly focused on human relationships in its beginning stretch, particularly regarding Miles’ bond with his parents. Moore, Lauren, and Tyree Henry lend real pathos to their roles in these slower sequences, tenderly and believably navigating difficult choices along Miles’ transition into adulthood. Steinfeld is also excellent, particularly in early scenes with her alienated father: vulnerable and courageous, bitter and earnest. Gwen’s not defined by her will-they-won’t-they romance with Miles, but rather by her personal strength to confront her demons and fight for what she believes in.

It’s somewhat disappointing, then, that as Miles and company journey through the Multiverse, encountering bazillions of Spider-Beings, that “Across the Spider-Verse” reverts so frequently to exposition dumps and rushed characterizations that allow little time to be fleshed-out beyond the surface level.

Talk of so-called “canon events” (the expected happenings of each Spider-Man story) are interesting in a meta-textual sense, but the film leaves the concept’s thornier elements dangling, hopefully to be explored down the road, in favor of simplistic messaging. The Spot, too, idiosyncratically brought to life by Schwartzman, is sidelined for most of the second half, a Big Bad seemingly too big for the already overstuffed film to address.

No matter how likable the characters, or thrilling the animation, “Across the Spider-Verse” is unable to break free from the expectations of tradition: a story whose ideas of empowerment and individuality are only broached but not fully delved into, set-up for greater things in the future. Perhaps “Beyond the Spider-Verse” will rectify these qualms, but as it stands, “Across the Spider-Verse” can’t match its breathtaking presentation with equally strong storytelling.

“Spider-Man: Across the Spider-Verse” is a 2023 animation-fantasy film directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson and starring (voices): Shameik Moore, Hailee Steinfeld, Luna Loren Valez, Oscar Isaac, Issa Rae, Jake Johnson, Jason Schwartzman, Rachel Dratch, Brian Tyree Henry, Shea Whigham, Karan Soni, Daniel Kaluuya, J.K. Simmons, and Mahershala Ali.
It is rated PG for sequences of animated action violence, some language and thematic elements and the runtime is 2 hours and 20 minutes. It opens in theaters on June 2. Alex’s Grade: B

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

By Lynn Venhaus
Pop art, quantum physics and pathos collide in a grand superhero spectacle, resulting in this “Spider-Man: Across the Spider-Verse” sequel being a mind-blowing amalgamation of next-level animation like but surpassing the 2018 original.

In this second installment of an animated film trilogy, Miles Morales (Shameik Moore) 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.

However inventive and clever it is, though, about half of the storyline is incoherent and panders to fan service — and the sensory-overload-on-steroids style is overwhelming and exhausting. Yet, we’re all locked in.

This 2 hour and 20- minute eye-popping extravaganza takes place across six dimensions, has 240 characters in it and had over 1,000 animators working on it – the most ever.

The Spider-Man mythology, easily relatable for teens who understood creator Stan Lee’s metaphors for figuring out their place in the world, began as a socially inept high school student who was bitten by a radioactive spider, and thus developed superpowers. That was in 1962, and in fighting crime in his subsequent Marvel Comics issues, Peter Parker would eventually learn “with great power comes great responsibility.”

Since 2002, there have been eight live-action Spider-Man movies, plus his role in “The Avengers” franchise, not to mention a past TV series, Broadway musical, video games and books.

The three co-directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson mash parts of the old films with elements of the comic books. That comic imagery, added in with drawing and painting styles of the 20th and 21st centuries, results in a visually stunning work. Art historians will be in for a treat.

And comic book fans will be delirious about the Easter eggs – no doubt courtesy of cheeky producers Phil Lord and Chris Miller who finally won an Oscar for directing the first movie (previously robbed for “The Lego Movie”) but only co-wrote this script with David Callaham, a veteran of the first and “Shang-Chi and the Legend of the Ten Rings.”

I understand their desire to throw in as many gags for the super-fans, but that darn muddled narrative lets the rest of us down. And their need to fiddle with the Spider-Man canon to keep it fresh and interesting. Sure, there are compelling human emotional touches (dead relatives, loved ones in peril), but the hyper-kinetic storytelling weakens the overall effect for those ‘not in the zone.’

Another sticking point is that the middle entry in this animated world ends with a cliffhanger, then states Miles will return in “Spider-Man: Beyond the Spider-Verse.” It is set for a March 29, 2024, release — frustrating to viewers who like things resolved before waiting for another one, because this one just ends without a resolution.

And if you did not see “Spider-Man: Into the Spider-Verse” released four and a half years ago, you will be lost here. As a quick recap, Miles Morales, a black Hispanic Brooklynite, was juggling his life between being in high school and a Spider-Man, but when Wilson “Kingpin” Fisk uses a super collider, he finds out that others from across the Spider-Verse have been transported to his dimension.

This time, 15-year-old Miles remains on Earth – 42, but as he discovers more multi-verses, he meets dozens of other Spider-People. In this global take, we meet a Spider-Man India (Karan Soni), a cockney street punk Spidey named Hobie (Daniel Kaluuya), a snarling, hulking vampire Spidey Miguel O’Hara (Oscar Isaac), and a pregnant Spider-Woman, motorcycle mama Jessica Drew (Issa Rae). Saving the world is tough business, and there are existential crises happening.

Miles’ mentor, Peter Parker (Jake Johnson), is shown as a young father, married to MJ (Zoe Kravitz), who brings his baby along for the adventures. Sad girl Gwen Stacy (Hailee Steinfeld) is a combo grrrl rocker and a Spider-Girl whose anguished storyline is equal to Miles’.

Spidey and The Spot

While one can applaud the energy and the dazzling visuals of non-stop action, characters are often frazzled, and the pace is so frenetic that you feel like you are trapped in this parallel universe too. Who’s good, who’s evil, and who may be both?

Shameik Moore has returned to voice Miles, and he’s dandy as the angsty teen who is exasperating to his parents because of his time-management skills (they don’t know he’s keeping the bad guys in check, at least in his neighborhood).

His parents are voiced by Brian Tyree Henry and Luna Loren Valdez, joining a slate of major talent whose vocal work is solid but does not immediately identify them. Yet, it’s easy to place J.K. Simmons as J. Jonah Jameson, SNL’s Rachel Dratch as the principal, and Jason Schwartman as the revenge-seeking villain “The Spot” (a standout).

Hyper and hypnotic, “Spider-Man: Across the Spider-Verse ” has pushed forward the genre and is a fun fan experience. The propulsive score by composer Daniel Pemberton is also a plus. I give the animation an A+ but the story a B-.

It’s a lot to juggle sci-fi, action, adventure, family, comedy, drama, and fantasy in one animated feature, and this film does display heart, even if the movie can’t stand on its own.

After two decades of superhero comics ruling the bombastic blockbuster box office, what’s next? Has art opened another dimension? One of the Spider-Verse’s greatest strengths is that it still surprises, and these multiverses show no signs of maxing out.

One thing is for certain, the enthusiasm for this head-spinning series is not waning anytime soon (even with the grumbling about waiting for the next sequel). It’s as if we’ve hopped on one of the wildest amusement parks rides ever, and we need to see where it leads.

“Spider-Man: Across the Spider-Verse” is a 2023 animation-fantasy film directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson and starring (voices): Shameik Moore, Hailee Steinfeld, Luna Loren Valez, Oscar Isaac, Issa Rae, Jake Johnson, Jason Schwartzman, Rachel Dratch, Brian Tyree Henry, Shea Whigham, Karan Soni, Daniel Kaluuya, J.K. Simmons, and Mahershala Ali.
It is rated PG for sequences of animated action violence, some language and thematic elements and the runtime is 2 hours and 20 minutes. It opens in theaters on June 2. Lynn’s Grade: B

This review also appeared in the Webster-Kirkwood Times’ Reel World with Kent Tentschert.

St. Louis Film Critics Association Honors ‘Nomadland’ with 4 Awards

St. Louis Film Critics Association Honors ‘Nomadland’ with 4 Awards

The independent drama “Nomadland” has won four awards from the St. Louis Film Critics Association, including film, director, editing and cinematography.

After losing everything in the 2008 recession, middle-aged Fern (Frances McDormand) embarks on a journey through the American west in writer-director Chloe Zhao’s “Nomadland.” Zhao also edited the film. Joshua James Richards earned Best Cinematography.

“Promising Young Woman,” writer-director Emerald Fennell’s social commentary thriller about toxic masculinity, was recognized for Carey Mulligan’s performance and Fennell’s original screenplay as well as soundtrack for a total of three awards.

Other multiple award winners included Pixar’s “Soul” for animated feature and music score by Trent Reznor, Atticus Ross and Jon Batiste; Christopher Nolan’s “Tenet” as best action film and visual effects; and “The Invisible Man” for best horror film and best scene in which the sisters meet to dine at a restaurant.

In acting honors, Chadwick Boseman was named Best Actor for his final performance in “Ma Rainey’s Black Bottom,” Paul Raci of “Sound of Metal” and Youn Yuh-jung of “Minari” for supporting roles.

The Romanian film “Collective” won for documentary and the Danish film “Another Round” won for foreign language film.

The awards were announced on Sunday, Jan. 17, with nominations in 22 categories were announced Jan. 10.

Eligible films include those that opened in St. Louis during the 2020 calendar year or were made available as a video on demand or streaming service release.

For more information, visit the website, www.stlfilmcritics.org, follow us on Twitter (@stlfilmcritics) and “Like” our Facebook page.

Here is a complete list of the awards:

BEST FILM: Nomadland
Runner-up (tie): “First Cow” and “Promising Young Woman”

BEST DIRECTOR: Chloé Zhao – “Nomadland:
Runner-up: Emerald Fennell “Promising Young Woman”

BEST ACTOR: Chadwick Boseman – “Ma Rainey’s Black Bottom”
Runner-up: Delroy Lindo, “Da 5 Bloods”

BEST ACTRESS: Carey Mulligan – “Promising Young Woman”
Runner-up: Frances McDormand, “Nomadland”

BEST SUPPORTING ACTOR: Paul Raci – “Sound of Metal”
Runner-up: Sacha Baron Cohen, “The Trial of the Chicago 7”

BEST SUPPORTING ACTRESS: Youn Yuh-jung – “Minari”
Runner-up: Maria Bakalova, “Borat Subsequent Moviefilm”

BEST ORIGINAL SCREENPLAY: “Promising Young Woman” – Emerald Fennell
Runner-up: Aaron Sorkin, “The Trial of the Chicago 7”

BEST ADAPTED SCREENPLAY: “I’m Thinking of Ending Things” – Charlie Kaufman (Screenplay); Iain Reid (Novel)

Runner-up: Kemp Powers (screenplay and play) “One Night in Miami”

BEST EDITING: “Nomadland” – Chloé Zhao

Runner-up: Robert Frazen, “I’m Thinking of Ending Things”

BEST CINEMATOGRAPHY: “Nomadland” – Joshua James Richards

Runner-up: “Mank” – Erik Messerschmidt

BEST PRODUCTION DESIGN: “Mank” – Donald Graham Burt\

Runner-up: “Emma” – Kave Quinn

BEST VISUAL EFFECTS: Tenet
Runner-up: The Invisible Man

BEST SCORE: Soul – Trent Reznor & Atticus Ross and Jon Batiste
Runner-up: Nomadland – Ludovico Einaudi

BEST SOUNDTRACK: Promising Young Woman
Runner-up: Hamilton

BEST ACTION FILM: Tenet
Runner-up: Birds of Prey

BEST COMEDY FILM: Borat Subsequent Moviefilm
Runner-up: Palm Springs

BEST HORROR FILM: The Invisible Man

BEST ANIMATED FEATURE: Soul
Runner-up: Wolfwalkers

BEST DOCUMENTARY FEATURE: Collective

BEST FOREIGN LANGUAGE FEATURE: Another Round
Runner-up: Beanpole

BEST SCENE: The Invisible Man – A restaurant meet-up between sisters is interrupted.
Runner-up: Rudy Guiliani visits hotel room in “Borat Subsequent Moviefilm”

Here is a complete list of nominations:

BEST FILM
First Cow
I’m Thinking of Ending Things
Nomadland
Promising Young Woman
The Trial of the Chicago 7


BEST DIRECTOR
Emerald Fennell, “Promising Young Woman”
Lee Isaac Chung, “Minari”
Spike Lee, “Da 5 Bloods”
Aaron Sorkin, “The Trial of the Chicago 7”
Chloe Zhao, “Nomadland”

BEST ACTOR
Riz Ahmed, “Sound of Metal”
Chadwick Boseman, “Ma Rainey’s Black Bottom”
Delroy Lindo, “Da 5 Bloods”
Anthony Hopkins, “The Father”
Gary Oldman, “Mank”

BEST ACTRESS
Jessie Buckley, “I’m Thinking of Ending Things”
Viola Davis, “Ma Rainey’s Black Bottom”
Vanessa Kirby, “Pieces of a Woman”
Frances McDormand, “Nomadland”
Carey Mulligan, “Promising Young Woman”

BEST SUPPORTING ACTOR
Bo Burnham, “Promising Young Woman”
Sacha Baron Cohen, “The Trial of the Chicago 7”
Bill Murray, “On the Rocks”
Leslie Odom Jr., “One Night in Miami”
Paul Raci, “Sound of Metal”

BEST SUPPORTING ACTRESS
Maria Bakalova, “Borat Subsequent Moviefilm”
Ellen Burstyn, “Pieces of a Woman”
Olivia Colman, “The Father”
Amanda Seyfried, “Mank”
Yuh-jung Youn, “Minari”

BEST ORIGINAL SCREENPLAY
Lee Isaac Chung, “Minari”
Emerald Fennell, “Promising Young Woman”
Jack Fincher, “Mank”
Andy Siara, “Palm Springs”
Aaron Sorkin, “The Trial of the Chicago 7”

BEST ADAPTED SCREENPLAY
Charlie Kaufman, “I’m Thinking of Ending Things”
Kemp Powers, “One Night in Miami”
Jon Raymond and Kelly Reichardt, “First Cow”
Ruben Santiago-Hudson, “Ma Rainey’s Black Bottom”
Chloe Zhao, “Nomadland”

BEST CINEMATOGRAPHY
Benjamin Kracun, “Promising Young Woman
Erik Messerschmidt, “Mank”
Joshua James Richards, “Nomadland”
Newton Thomas Sigel, “Da 5 Bloods”
Dariusz Wolski, “News of the World”

BEST EDITING
Alan Baumgarten, “The Trial of the Chicago 7”
Kirk Baxter, “Mank”
Robert Frazen, “I’m Thinking of Ending Things”
Jonah Moran, “Hamilton”
Chloe Zhao, “Nomadland”

BEST PRODUCTION DESIGN
Donald Graham Burt, “Mank”
Christina Casali, “The Personal History of David Copperfield”
Michael Perry, “Promising Young Woman”
Kave Quinn, “Emma”
Mark Ricker, “Ma Rainey’s Black Bottom”

BEST SOUNDTRACK
Birds of Prey
Da 5 Bloods
Hamilton
Lovers Rock
Promising Young Woman

BEST MUSIC SCORE
Ludovico Einaudi, “Nomadland”
Ludwig Goransson, “Tenet”
James Newton Howard, “News of the World”
Trent Reznor, Atticus Ross, Jon Batiste, “Soul”
Trent Reznor, Atticus Ross, “Mank”

BEST VISUAL EFFECTS
Birds of Prey
The Invisible Man
Mank
The Midnight Sky
Tenet

BEST ACTION
Birds of Prey
The Gentlemen
Greyhound
The Old Guard
Tenet

BEST HORROR
Alone
The Invisible Man
La Llorona
Possessor Uncut
The Vast of Night


BEST COMEDY
Borat Subsequent Moviefilm
Emma
The King of Staten Island
On the Rocks
Palm Springs

BEST DOCUMENTARY
City Hall
Collective
Dick Johnson is Dead
My Octopus Teacher
The Social Dilemma

BEST ANIMATED FEATURE
Onward
Over the Moon
Soul
The Wolf House
Wolfwalkers

BEST FOREIGN LANGUAGE FILM
Another Round
Bacurau
Beanpole
Collective
Vitalina Varela


BEST SCENE
Human Resources complaint discussion in “The Assistant”
Rudy Guiliani hotel room visit in “Borat Subsequent Moviefilm”
Dinner with parents at farmhouse in “I’m Thinking of Ending Things”
Sisters dine in restaurant in “The Invisible Man”
Questionnaire administered in “Never Rarely Sometimes Always”

Actors Triumph in Memorable ‘One Night in Miami’

Actors Triumph in Memorable ‘One Night in Miami’

By Lynn Venhaus
A play-based drama imagines conversations between four black icons during a crucial time in the civil rights fight.

Playwright Kemp Powers adapted his 2013 stage play, “One Night in Miami,” which set their fictional meeting on Feb. 25, 1964, after Cassius Clay (Eli Goree) emerged as the new heavyweight boxing champion by defeating Sonny Liston at the Miami Beach Convention Center.

Joining him afterwards at the Hampton House Motel in the African American Overtown neighborhood is activist Malcolm X (Kingsley Ben-Adir), singer Sam Cooke (Leslie Odom Jr.) and legendary NFL running back Jim Brown (Aldis Hodge).

These influential black men discuss their responsibility and roles in the burgeoning civil rights movement.

On the cusp of the cultural upheaval of the 1960s, four famous black men feel pressured as symbols, trying to determine how to support equality and empower others through their celebrity.

The discussions are thought-provoking throughout, even though the film can’t quite shake its theatrical roots. But it’s the performances that galvanize “One Night in Miami.” One of the finest ensembles of the year features four young talents establishing their value, and each is riveting.

Kingsley Ben-Adir is fire and brimstone as Malcolm X, whose heated exchanges with Cooke do lead to a new direction for the singer, as shown later in “A Change Is Gonna Come” performed on “The Tonight Show.”

As the confident Malcolm X, Ben-Adir, however, expresses doubt and grapples with loyalty to the Nation of Islam.

Eli Goree, a veteran of TV’s “Ballers” and “Riverdale,” nails the glibness and distinct cadence of Clay, who is mulling over his decision to become Muhammad Ali.

Leslie Odom Jr., Tony winner as Aaron Burr in “Hamilton,” is electric as soul music pioneer Cooke, smoothly delivering several hits. A flashback to him salvaging a live show with an a capella “Chain Gang” is one of the film’s highlights.

Aldis Hodge, long a secret weapon in films, imbues his Brown with more anger and depth as he debates a future beyond football. In one of the film’s most significant scenes, he is humiliated by a wealthy bigot (Beau Bridges) during the Jim Crow era.

Oscar-winning actress Regina King, making her directorial debut, just gives her actors room to breathe. And the dialogue crackles, resonating beyond that night and emphasizing the impact these men had in their lives. 

By the end of the year, Malcolm X was assassinated and Cooke was killed in a sketchy incident – and the athletes became two of the greatest there ever was.

This evening may have taken place nearly 57 years ago but it feels timely. It’s definitely a conversation-starter for any age.

“One Night in Miami” is a drama based on Kemp Powers’ play, directed by Regina King and starring Kingsley Ben-Adir, Leslie Odom Jr., Aldis Hodge and Eli Goree. Rated R for language throughout, the movie’s run-time is 1 hr. 54 min. Lynn’s Grade: B+
Now playing in theatres and on Amazon Prime Jan. 15

Pixar’s ‘Soul’ Has Whimsy and Warmth

Pixar’s ‘Soul’ Has Whimsy and Warmth

By Lynn Venhaus
Oh, so clever and profound, “Soul” tackles life’s Big Questions with whimsy and warmth.

An inspiring ode to mentors and finding our ‘spark,’ this original screenplay by director Pete Doctor, co-director Kemp Powers, and Mike Jones is a fresh take on a subject we generally ignore.

Docter, the genius behind Oscar winners “Up” and “Inside Out,” has gone into new territory while the animators have done stunning, next level work we’ve not seen before.

As the first African-American lead Pixar character, Joe (Jamie Foxx) is a middle-school band teacher whose true passion is jazz. So, when he gets a shot at performing with the revered Dorothea Williams Quartet, he thinks fate has finally smiled on him. However, destiny had another crossroads in mind – and he has wound up in the “Great Before.” He is paired with a wisecracking infant soul (Tina Fey), trying to figure her life out. Traveling between realms allows him to discover what it means to have “soul.”

The music score is glorious, with hypnotic other-worldly compositions by Trent Reznor and Atticus Ross, and jazz compositions and arrangements by Jon Batiste.

Batiste, the band director of The Late Show with Stephen Colbert’s house band, Stay Human, did the piano performances for Joe in the film – his unmistakable long lean fingers gliding over the 88 keys with such joy. The man exudes optimism every time he tickles the ivories.

“Soul” is geared towards parents more than children, but lessons can be extracted for older youth.

The small moments of life are celebrated, as are the colorful personalities we meet along the way – trombonist Connie, mystic Moonwind, seamstress Melba, barber Dez, obsessive-compulsive accountant Terry, and all those Counselor Jerrys.

Tina Fey is a delight. While Joe and Soul 22 are on their big-city escapades, which are fast and funny, the ‘no-body’ discovers Earth isn’t boring – although she refers to it as “this hellish planet,” but one whiff of pizza and she’s stuffing herself with New York City street food.

Steve Pilcher’s production design of a teeming New York City is remarkable, as is his ethereal Great Before, a mix of pastels and golden lights.

In much the same way as Thornton Wilder’s prose resonates in “Our Town” — “Oh, Earth, you’re too wonderful for anybody to realize you…”, “Soul” will stay with you.

And in true Pixar fashion, one must remain for the credits – and they don’t disappoint. The production crew credits appear in the beads of Terry’s abacuses, and the infant souls play games.

Instead of the production babies’ list, they’ve titled it “Recent You Seminar graduates.’

This trip to the astral plane is “Dedicated to all the mentors in our lives,” and is to be savored.

“Soul” is a fantasy animated feature film directed by Pete Docter and Kemp Powers. Starring Jamie Foxx, Tina Fey, Angela Bassett, Phylicia Rashad, Graham Norton and Questlove, the film runs 1 hour and 40 minutes and is rated PG for thematic elements and some language. Lynn’s Grade: A. Now streaming on Disney Plus at no extra charge.
Lynn’s Grade: A