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Raimi told Rolling Stone he wondered to himself: “Do I still have what it takes to be able to make ?" ( Supplied: Disney)īut Raimi has become a stranger in a not-so-strange land.
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"I'm going to show those kids how to make a superhero picture," Raimi joked to Rolling Stone of his return to the Marvel fold, and in these moments, well, you really want to believe him.
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The darker the film gets, the more Raimi it is: a sequence involving zombie possession and a sorcerous lair stalked by demons and dark souls is as close to Evil Dead as we're ever likely to get in a movie of this budget, while Raimi's Spider-Man composer Danny Elfman returns with a stomping score that, on occasion, manages to give the visuals some operatic ballast. Multiverse of Madness is at its best – unsurprisingly – when it yields to Raimi's flourishes: canted angles, jump-scare eyeballs, a Bruce Campbell cameo (that's not a spoiler – he's not an MCU character, at least not yet). Raimi's Spider-Man movies were playful pop confections mostly unburdened by the weight of endless sequel phases and IP world-building, shot through with a genuine sense of comic-book fun – and crucially, compelling characterisation – that's become increasingly hard to find in Marvel's charmless content factory. Unlike the CGI-soaked tedium and misshapen auteurism of much of the recent MCU, Multiverse of Madness is elevated – if barely – by the singular spirit of director Sam Raimi, the kinetic filmmaker behind the Evil Dead series, Drag Me to Hell and, of course, the 2002-2007 trilogy of Spider-Man movies that helped jump-start this century's superhero cinema cycle. The film features Xochitl Gomez as America Chavez (right), Marvel's first Latin-American LGBTQI+ character, who was first introduced to the comics in 2011. In pursuit of her prize, Scarlet Witch manages to kidnap Strange's mentor, Wong (Benedict Wong), but the Doctor and America escape her clutches, tumbling through a kaleidoscopic montage and into the New York of another universe – an oddly utopian city that resembles the future as imagined by an 80s movie.
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Naturally, nefarious parties want a piece of America's talent, especially Scarlet Witch (Elizabeth Olsen), the villainous alter ego of ex-Avenger Wanda Maximoff, whose would-be peaceful suburban life is about to be disrupted by her old, evil self. In Multiverse of Madness, Strange is brooding at the marriage of his ex, Dr Christine Palmer (Rachel McAdams), when a gigantic one-eyed octopus – not unlike the goofy starfish that enlivened last year's Suicide Squad – crashes into Midtown Manhattan, hell-bent on capturing a teenage girl, America Chavez (Xochitl Gomez).ĭecked out in a faded denim jacket emblazoned with stars, stripes, and a rainbow flag pin – Chavez is canonically queer, much to the chagrin of Disney's international accountants – she's an all-powerful entity in the shape of a girl, gifted with the ability to move through the multiverse. Multiverse of Madness sees director Sam Raimi dig back into his horror roots, reviving directorial tricks he used in his Evil Dead trilogy and in Drag Me to Hell. It's been six years since the first Doctor Strange, though we've seen plenty of the character since: in Thor: Ragnarok, Avengers: Infinity War and Endgame, and in No Way Home, where Benedict Cumberbatch's goateed sorcerer – who throws magic hand shapes like a reject from a ballroom voguing contest – played a pivotal if accidental role in opening the portal to the MCU's multiple realities. Marvel's latest, Doctor Strange in the Multiverse of Madness, is here to double down on that feeling of either delight or terror, delivering another trip into the infinitely expanding, if curiously unimaginative, realm of multiple realities and franchise favourites dusted off for renewed screen service (at least until their deepfake doppelgangers can be perfected). Last year's monster-hit Spider-Man: No Way Home unleashed the limitless – or terrifying, depending on your perspective – possibilities of the MCU's multiverse, a world in which every character you've ever known, loved, or rolled your eyes at could be employed in franchise perpetuity where old villains and heroes could be resurrected, and the only real mortality came at the hands of an actor's expired contract.