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Which makes it a double-edged sword when the Sam Raimi who directed “ Spider-Man 2” and “Evil Dead 2” comes out to play about halfway through and then really gets going in the final act.
Both “WandaVision” and “Loki” took more creative risks. The sense that these movies only feign interest in being “strange” when they’re about as normal as can be makes them all the more frustrating. But it's very clearly a product of a content machine, fighting against its own self-interests because it’s scared to alienate any of the millions of potential viewers. It’s got a plot that could have creatively surprised viewers over and over with new variations on the very concept of a world with heroes in it and a director willing to go there. "Multiverse of Madness" is a film that constantly pushes back against its own possibilities.
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You’ll have to imagine it because this movie isn’t interested in that kind of potential. A visual artist like Raimi with a modern MCU budget and complete creative freedom. I thought after what felt like an interminable set-up that Raimi and company were about to blow up the Marvel formula machine and make a live-action film that felt like “ Spider-Man: Into the Spider-Verse.” Imagine that. There’s a sequence relatively early in “Multiverse of Madness” wherein Strange and America fly through alternate universes, including one that looks animated and one where their bodies are made of paint. Wanda is willing to do whatever it takes to live in the universe where she still has her children (although Vision’s existence is barely referenced), which unleashes chaos for Strange, Wong, and America that involves Mordo ( Chiwetel Ejiofor), a few classic characters, and, well, some new faces with familiar names. Strange suspects that witchcraft may be involved, which leads him to seek the guidance of Wanda ( Elizabeth Olsen), who is still reeling from the loss of her children at the end of the Disney+ show and under the spell of the evil Darkhold, a book of evil spells that Raimi fans will probably note looks a lot like the Necronomicon. Strange and Wong ( Benedict Wong) leap into action to save the girl and learn that America is sought for her ability to traverse alternate universes, although she can’t really control when she does so. A massive octopus-like creature is chasing a girl named America Chavez ( Xochitl Gomez) across dimensions, causing chaos along the way.
Stephen Strange is attending the wedding of his unrequited love Christine Palmer ( Rachel McAdams) when chaos erupts in the street outside (and the fact that Michael Stuhlbarg’s name is on the poster for his single, early-movie scene at the wedding feels like an agent’s coup). After a dreadfully long build-up, “Doctor Strange 2” gains some momentum thanks to Raimi’s visual flair, but even that runs out.
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It’s a Frankenmovie, a blockbuster sewn together from pieces of other films, comic books, and TV shows and given life with the electricity of a Marvel budget. Perhaps all of these allegiances are at the root of why “Multiverse of Madness” never develops its own identity and depth. And, for a particular generation, it’s kind of a sequel to when Sam Raimi was one of the most badass filmmakers alive. It’s very much a sequel to “WandaVision,” the show that expanded the Marvel Cinematic Universe into television. It’s a sequel to “ Avengers: Endgame” and “ Spider-Man: No Way Home” in that it references action in both films and extrapolates somewhat on the universe-saving decision that the title character made in the former. Think about how many properties are being sequel-ed in “Doctor Strange in the Multiverse of Madness.” It’s a sequel to “ Doctor Strange,” although just barely in that you probably need to have seen that film less than the Strange adventures that followed. The modern Marvel sequel is as multi-armed as Doctor Strange casting a spell.
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