(No significant spoilers.)
When I got out of this movie, I tweeted, “This is the comic-bookiest movie I have ever seen. Both in (mostly) good and bad ways.” And, the next day, that’s still true.
Doctor Strange in the Multiverse of Madness is a very (shall we say) strange movie. It is filled with arguably too many characters, but the important ones all get a fair amount of screen time and agency. It is filled with horror (none of it too horrific), and mind-altering multidimensional madness (which is all delightful), but remains at heart a super-hero film. It is filled with cameos and fan service, but those are present as lovely icing on a rich cake, less a distraction and more of the overall flavor.
Benedict Cumberbatch is back as Doctor Strange, who’s casually mastered magic enough since his 2016 movie to use it for casual costume changes, and to tie his tie. Cumberbatch actually gets to play multidimensional variants of himself — all very nicely done, and all leading to the character learning something about himself and having a nice, if not profound, character arc to go with it tale.
Elizabeth Olson is back as Wanda Maximoff, the Scarlet Witch (the actress pretty much flew from the set of “WandaVision” to begin shooting the movie). The character fits a bit awkwardly into role of super-villain, being driven by tragic circumstances, dreams of alternate universes where she actually has her kids, and, of course, temptations from the fell magic of the Darkhold. It’s kind of hard to feel sorry for her when she acts so violently and callously as time goes by. The final confrontation with her is fitting, but doesn’t quite make the whole thing work as a needed redemption arc.
So you could have had a fine film with just those two having at it, but there are three other major characters vying for useful screen time and making good use of it. Benedict Wong gets a solid work-out as Sorcerer Supreme Wong. He’s not the star of the movie (I would totally watch a Wong movie), but he gets a lot of screen time and great action sequences, and his banter is top notch. Rachel McAdams returns as Christine Palmer, a stronger far more successful second act for an MCU hero’s love interest than most others we’ve gotten.
And, of course, Xochitl Gomez plays neophyte power-house America Chavez, and deftly manages to dodge most of the snarky teen tropes, avoiding being too much of a damsel in distress, but also not instantly rising up as a super-hero. The movie is all around her, but not necessarily about her, and I want that latter movie as a follow-up. Nicely done, even if Saudi Arabia had the vapors over some very innocuous references to the comics canon background that she has two mothers (and wears an LGBTQ flag pin on her jacket).
And even after that we could point to significant appearances by folk like Chiwetel Ejiofor as Mordo (playing a Mordo in very different circumstances but very true to the character’s previous portrayal), and a host of cameos that will get any fanboi squeeing (my personal favorite being Rintrah, but that’s just me).
The plot is non-linear to the point of, well, madness, with the party being split (and the various splits given plenty of air time) multiple times. And while there are cast-of-zillions CG battles in places, a lot of that gets done in odd places in the movie, leaving the finale to be a much more nicely integrated combo of super-slugfest and very personal conflict.
The movie also wraps up on some very satisfying but unexpected notes. The Stephen-Christine thing is resolved, but not in an overly obvious way. The fate of America Chavez is left in a neat holding pattern for future MCU use. And, for that matter, so is Wanda’s fate; the multiverse being, of course, vast.
As well, we also tee up another (huzzah) DS movie, with some quick final-scene + mid-credits fun. (Yes, there are two credits shots, as usual for MCU movies. I’m not sure the final one is worth busting your bladder for, but if you can wait for it, it’s amusing, and quite appropriate for a Sam Raimi-directed effort.)
Danny Elfman’s music is fine, and perhaps even appropriate for such a tripped-out film. He does reference a few times (too few, for my taste) Michael Giacchino’s DS theme (I do love leitmotifs and musical continuity), but his original contributions fit the tone.
As to the overall film, written by Michael Waldron and directed by Sam Raimi … well, the “Multiverse of Madness” epithet is correct. Things get zany, and there are plenty of references back to old horror movie tropes to keep things tonally shaken up. There’s a real effort to keep the magic battle bits from too much like standard super-hero energy blast work. That includes one battle relatively late in the film that is delightful, different, and really very weird.
The end result is something phantasmagorical, as much mood piece as story, and that makes it both distinctive amongst its fellow super-hero films and, perhaps, a bit weaker. A movie like this could be approached with “What cool Doctor Strange story could we tell?” or with “How do we show off the multiverse?” The film tends to tip a bit toward the latter, though it does a decent job all-around, better than I might have expected.
Even though it was executed with technical excellence (as one expects from the MCU), it’s not just about that excellence. The difference in what it does, the seriousness with which it take its multiversal venues, and the quirky aspects of everything it gives us and how it directorially goes about it, will make it a much more memorable outing than some other technically excellent but more conventional super-flicks. I think it will end up a cult classic in the genre.
Because it is, in fact, the comic-bookiest film I’ve ever seen. It sacrifices some depth and story for visual and conceptual effects and craziness. But it does so in a way that stands out. Steve Ditko, who originated the visuals of Doctor Strange, would, I think, be very pleased. Overall, I like, and will absolutely be watching it again.
(Based on my Letterboxd review here.)