The superhero genre became a dominant force in blockbuster culture when Sam Raimi‘s Spider-Man swung into theaters in 2002. Even in the dismal Spider-Man 3, Raimi, who was previously best known for his horror background owing to his Evil Dead film series, left his unique mark on all three films he directed with Tobey Maguire. Since then, he’s been at the helm of Drag Me to Hell in 2009 and Oz the Great and Powerful in 2013. Doctor Strange in the Multiverse of Madness marks his return to the genre that earned him a household name among comic book movie fans over a decade after his previous directorial appearance.
Following the departure of initial director Scott Derrickson from the production, Sam Raimi moved into the director’s chair for this picture. The prospect of the visionary mind behind The Evil Dead and Spider-Man tackling an MCU film was extremely exciting, especially given that, for all of its entertainment value, the franchise’s tried-and-true formula is starting to show, and in some cases, such as with Black Widow, feels a little stale. Doctor Strange in the Multiverse of Madness, thankfully, is a wonderful and occasionally terrifying exhibition of Raimi’s cinematic talents.
Dr. Stephen Strange (Benedict Cumberbatch) is attending the wedding of his old flame, Christine Palmer, sometime after the events of Spider-Man: No Way Home (Rachel McAdams). Although he still has sentiments, he recognizes that the weight of his responsibilities lies in his reputation as a renowned Avenger. “With great power comes great responsibility,” says a quote from Sam Raimi‘s iconic film trilogy.
As is to be expected, things quickly spiral out of control for Doctor Strange when he meets the mysterious America Chavez (Xochitl Gomez), a teenager with special skills who catches both his and his colleague, Sorcerer Supreme Wong‘s interest (Benedict Wong). America speaks with the two about the Multiverse, implying that there is a threat on the horizon. With that in mind, Stephen enlists the help of Wanda Maximoff (Elizabeth Olsen), a fellow Avenger who is still recovering from her event (or episodes) at Westview.
The fact that Sam Raimi is now working under the careful eye of Marvel Studios President Kevin Feige distinguishes his approach to the sequel to 2016’s Doctor Strange from his three Spider-Man features. Only a few filmmakers have had the opportunity to demonstrate their distinctive sensibilities during the MCU’s 28-film run, therefore each entry is ultimately guided by Feige. Joss Whedon, James Gunn, Shane Black, and Taika Waititi are all noted for having unique visions and writing styles for their films, which is why their separate entries in the franchise stand apart despite the genre’s episodic structure.
That isn’t to suggest that many of the MCU’s directors-for-hire aren’t capable. Peyton Reed, for example, has consistently delivered Ant-Man films that appear to suit the idea of the ongoing franchise, but he stepped into the 2015 origin narrative when Edgar Wright, a prominent auteur, left due to creative disputes. Both acclaim and condemnation have been heaped upon the MCU factory. On the one hand, each picture has a consistent tone and feels like it belongs in the same cinematic universe. On the other hand, this might make some of the films feel a little too formulaic at times. Thankfully, Sam Raimi‘s tastes are so distinct and exciting that it stands out among the franchise’s prior entries, even when some of the clichés are present.
Despite the fact that horror and superhero films are two distinct genres, Sam Raimi has been able to include both elements in his prior films, such as Darkman and the Spider-Man trilogy. In Spider-Man 2, the iconic Doctor Octopus hospital scene is maybe the pinnacle of his style. Doctor Strange in the Multiverse of Madness features lots of Raimi-Esque moments scattered throughout, especially in the opening action sequence and third act climax, not just in how he moves the camera, but also in his distinct blend of horror and humor, as seen in Evil Dead 2.
Benedict Cumberbatch, as predicted, he glows. He has his most emotionally gratifying single film storyline in any of his previous appearances, demonstrating a significant progression in his development since we first met him in 2016. Doctor Strange thinks he’s seen it all after facing Thanos and dealing with his annoying companion Spider-Multiverse Man’s pranks. Clearly, the Multiverse unleashing humbles him and forces him to make some of the most morally challenging decisions any MCU protagonist has ever faced. Cumberbatch is fantastic in the tragic passages through his acting skills, as we just saw in his Oscar-nominated effort in The Power of the Dog, and he also particularly shines in the film’s third act climax, which offers him an opportunity to also demonstrate some of Sam Raimi‘s characteristic horror/humor hybrid.
Elizabeth Olsen continues to lift Wanda Maximoff to greater emotional peaks and valleys after her Emmy-nominated performance in WandaVision. Doctor Strange in the Multiverse of Madness shows her confronting some of the darkest terrains any Avenger has ever encountered, and she sells it all with her eyes alone. Obviously, this storyline works best for those who have already watched WandaVision, but she still sells it.
Benedict Wong is a lovely presence in the MCU once again. As the Sorcerer Supreme, he provides a fantastic counterpoint to Doctor Strange, highlighting the duo’s interaction as one of the most entertaining in the MCU. In terms of the rest of the cast, Rachel McAdams has a significantly more fascinating part here, especially when compared to her underwhelming portrayal in the 2016 picture, while newcomer Xochitl Gomez impresses as America Chavez, despite the fact that her character is largely a MacGuffin with no meaningful character growth. The character mostly acts as a MacGuffin and does not have much of a character arc.
When Sam Raimi is permitted to fly his characteristic freak flag, Doctor Strange in the Multiverse of Madness is at its best. Thankfully, every action sequence, which is infused with his horror sensibilities, demonstrates this. However, much of the criticism around the picture is predicated on some of the numerous mysteries kept under wraps by the marketing effort. Without giving too much away, the picture has some fan service, which many fans expected following the extraordinary amounts of it shown in Spider-Man: No Way Home. However, whereas the fan service worked narratively and emotionally in that film, it does so here, drawing too much attention to itself. So much so that it may pull spectators – particularly those who avidly participate in fan theories – out of the movie’s immersion.
Additionally, as aforementioned, the film’s screenplay by Michael Waldron exposes a few narrative flaws, most notably in terms of the arcs of many of the supporting characters. While America Chavez attaches importance to the story’s storyline, her development leaves plenty to be desired. Fortunately, both Doctor Strange and Wanda Maximoff‘s central arcs are fulfilling and demonstrate character development. Finally, although the screenplay did a very good job in developing those two central characters, it left audiences a bit disappointed in a few other areas, most notably when it comes to fan service.
Doctor Strange in the Multiverse of Madness is a fascinating cinematic experience in general. The fact that a visionary like Sam Raimi is returning to the director’s chair is worth seeing on its own, but devoted fans of the MCU will still get the thrills they look forward to, and perhaps even a little bit more, thanks to a third-act climax that is in contention for being the most enthralling of any standalone MCU movie. Finally, one cannot help but realize that, despite the most annoying moments of fan service, Kevin Feige clearly looks up to Raimi, enabling him to hold sway over creation behind the camera in a way that no other MCU filmmaker has been able to do so far. If this and Matt Reeves‘ The Batman are any indications of where superhero cinema aims, Marvel Studios, and DC Films should continue to embrace their filmmakers’ distinct sensibilities in order to provide us with more refreshing theater experiences that are narratively satisfying beyond fan service.
