As much as I love the MCU, one of the growing concerns is how the continuing movies will incorporate – or not – the constant influx of Disney+ shows to the already-huge lore. And so, that hasn’t really been an issue. Yes, going to every movie and watching every show will of course add to the enjoyment and understanding of whatever the new movie is. But we hadn’t reached the point yet where it was critical. Until now. Doctor Strange in the Multiverse of Madness completely hinges on the audience having seen WandaVision – at least the emotional payoff does.
It’s an interesting problem to look at. A big hook of what Marvel is doing is the fact that everything is so intertwined. One movie affects the next movie which affects the shows which affect the next movie. It’s a never-ending cycle. If you feel exhausted by it all, I get it. If the so-called “superhero fatigue” that many have been wondering about is ever going to set it, I believe it’s going to be because of this need to keep up with so much, more so than just the sheer quantity. While this does affect my view on Madness, I think it’s something more important to keep an eye on moving forward.
But conjecture on the future of the MCU is different topic for a different time. The events of WandaVision propel Madness forward, though the affects of other recent projects are felt here as well. But WandaVision is the driving force. The movie does give a little bit of detail to get you up to speed. But for someone who hadn’t seen the show, it might just end up confusing them more.
While attending Christine Palmer’s (Rachel McAdams) wedding, Doctor Strange (Benedict Cumberbatch) is interrupted at the reception by the appearance of a giant creature chasing after teenager America Chavez (MCU newcomer Xochitl Gomez). Chavez reveals her power to travel throughout the multiverse. She’s also on the run, hunted by various other beasts across universes, all at the behest of some unknown larger power.
It doesn’t take long for Doctor Strange to figure out the villain behind it all is someone he knows well: Wanda Maximoff; though at this point she has fully leaned into the the Scarlet Witch persona. After losing her created-by-magic children after the events at Westview, she’s a broken woman. Even though nothing in that “life” was real, it was maybe the only time she’s been happy in her life.
She’ll do anything to make that pretend life her reality. With the multiverse allowing the possibility (which is quickly confirmed) of her children existing somewhere out there, she seeks to take America’s power for herself, allowing her to find a new universe for her to live in, finally finding the life that has eluded her. Wanda doesn’t care who she hurts (or kills) or what damage she does to other worlds in her quest.
It’s heartbreaking motivation that gives Olsen the chance to show once again she’s one of the best actors in the MCU. This storyline could easily come off as weak and cheesy with a lesser actor. But Olsen channels the grief and despair and rage perfectly. Wanda is an all-powerful witch, with the world – the multiverse, even – at her fingertips. But all she wants is to be reunited with her children. It makes her both terrifying and sympathetic. But again, if you’re not familiar with the vaguely-referenced “events at Westview,” this performance certainly won’t hit as strongly as it should.
But Olsen isn’t the only one here who gets to flex their acting muscles. Cumberbatch is his typically strong self. He’s perfected the toned-down-some-but-still-arrogant Strange. His character continues to show steady, consistent growth, and I’m loving how Marvel has handled that arc across several movies. Often times, you’ll see this type of character have a sudden, big turn that feels too easy. But Strange’s transition to a slightly less arrogant version of the surgeon we met in 2016 has felt very real.
Maybe I’m partial to her because she’s new, but Gomez might shine the brightest of all. She’s only 16 with a small filmography, but she stands toe-to-toe with seasoned veterans. Chavez brings warmth and wonder to what is undoubtedly the MCU’s darkest entry yet. Gomez is going to be a lot of fun watch grow into this role for years to come.
That dark tone is thanks to director Sam Raimi, returning to the superhero genre 15 years after Spider-Man 3. Raimi has a distinct style, and it’s present here too – but only at times. This is still Marvel, after all. Like the chore some feel keeping up with the MCU has become, Marvel’s handling of their directors is another interesting topic, maybe problem, to look into. They give their directors some freedom, but everything still has to come together as a piece to fit into the (admittedly well-oiled) MCU machine.
The moments when Madness goes full Raimi are the moments when it really hums. Everyone knows Raimi knows his way around a horror movie, and he’s able to infuse Madness with the first true horror elements in the 28 film series. There are some gruesome and gnarly kills that might shock fans who aren’t familiar with the director’s earlier films. But the whole movie isn’t vintage Raimi, and it suffers for it. It’s frustrating to see that 28(!) movies in, and Marvel still won’t give directors complete creative freedom. Taika Waititi (Thor: Ragnarok) and James Gunn (the two Guardians of the Galaxy movies) are maybe the exceptions. But you could argue their style naturally fits into what Marvel wants these movies to be.
We saw the same thing with Eternals and Chloé Zhao. It had flashes of her style, but it stopped short of being a completely Zhao film. And it’s the same thing here. It’s even more frustrating knowing how much better these movies could be – and they’re all mostly pretty good already – if the directors had a longer rope. It can feel like the studio treats these movies more like an investment than a work of art. Play it safe, go for the guaranteed return. And to be fair, it’s hard to argue with the results; the movies through Spider-Man: No Way Home have grossed nearly $26 billion worldwide. But why hire directors like Raimi if you’re not going to truly let them do what they do?
Beyond all that, there’s the typical Marvel fare, with varying degrees of success. There’s one of the worst offenses of a MacGuffin in the MCU to date. The ending is sloppy and a bit rushed. Marvel movies by default all very heavy on CGI, and Doctor Strange movies may require more than most. It can feel a little overwhelming at times, especially as there are a handful of instances where the effects are surprisingly inconsistent.
But when the effects are on point, it’s a lot of fun. And with the magic and sorcery at play with these characters, we do get a lot of really creative fight scenes. When they pop, they really pop. There are a few spots in these scenes too where we get some vintage Raimi with some of the camera work that adds something new.
While there are definite complaints to be had, the good Raimi parts and the strong trio of leads anchors this movie, firmly entrenching it as mid-tier Marvel, in the good-not-great area in which the studio seems to live.
Score: 85/100
