In the comics, America Chavez is a powerful lesbian Latina superhero raised by two mothers, but here, she's reduced to a generic teen wearing an Old Glory jean jacket and sporting a rainbow flag pin. The disjointed screenplay, written by Michael Waldron (Disney Plus's "Loki"), does present some unexpected jump scares and paranormal fireworks, but it makes little sense if you dare pause to think about it too much.
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There are necessary references to Marvel TV shows like "WandaVision" and the "Avengers" films, and having a strong handle on past events in the MCU are necessary to ingest all that occurs. The obligatory post-credit surprise sets up the MCU's future Multiversal War as the sorceress Clea (Charlize Theron) appears to tell Strange he's caused a dimensional incursion that must be fixed.ĭoctor Strange travels the multiverse with a teenager who can punch through realities in "Doctor Strange in the Multiverse of Madness." (Image credit: Marvel Studios) Whereas 2016's "Doctor Strange" felt like a sophisticated, adult-aimed film, "Doctor Strange in the Multiverse of Madness" is bolted together as an adrenalized after-school special on acid with a teen protagonist who's not very compelling, at least not enough to anchor an entire MCU movie.īut brilliant special effects are a revelation here, and the interdimensional contortions Cumberbatch experiences will leave you feeling like you've been strapped into a looping hyper-coaster for two hours after ingesting a couple of foot-long corn dogs and a funnel cake. Clocking in at just a hair over two hours (including the interminable credits) it's one of the shortest MCU films in recent memory, though you'd be hard-pressed to find fans who would have yearned for any more sizzling energy bolts and mystic shields exploding in endless showers of sparks. The film is loud, often visually arresting, oddly unengaging and rushed all at the same time. His flair for dramatic Dutch angles, undead heroes and cackling demons is evident, and if your idea of a killer Doc Strange flick is a putrefying zombified sorcerer clashing with a witchy mom trying to unite with her imaginary kids, then you'll be thoroughly entertained. Whereas Derrickson's "Doctor Strange" offered a more measured approach to the character and delivered genuine pathos in his origin story, Raimi's bombastic sequel feels like too many cooks spoiled the narrative broth.
This newest MCU film, long in development, is a convoluted mess at times, becoming exhausting by the final smackdown, which feels like something out of a hyperactive Harry Potter spectacle. Marvel movies you probably haven't seen 5 Marvel characters who deserve their own show "I needed time away after that to get hungry again, learned about filmmaking, taking some lessons, do some gardening." "I didn't come close to direct anything after that," Raimi told Collider. The last time Raimi directed a feature film was back in 2013, when he helmed "Oz the Great and Powerful," and SFX technology has made major leaps forward since then, allowing the filmmaker to present some truly jaw-dropping special effects, including a cyclopean space squid, musical notes turned into magical shrapnel, and a paint dimension of splattered color. Raimi cut his cinematic teeth with popular cult horror flicks like "Evil Dead," "Evil Dead II" and "Army of Darkness" before venturing into more mainstream fare when Hollywood harnessed his twisted visions in the "Spider-Man" trilogy of the 2000s starring Tobey Maguire. It was hoped that director Scott Derrickson would return to helm the sequel, but due to creative differences and time constraints, he bowed out early on to do "The Black Phone." It was essentially a foregone conclusion that director Sam Raimi would bring his trademark horror show to Marvel's sequel to 2016's " Doctor Strange," and the results are a troubling, phantasmagoric mind trip into untapped depths of insanity linked to a spotty narrative that is often puzzling.
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