DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS enters the MCU at a moment of seemingly endless potential. If Marvel fans have learned anything from the previous films and the Disney+ shows, it’s that Marvel’s horizons are boundless and each new foray only pushes the envelope further. Doctor Strange is a perfectly suited hero to adventure deeper into these new frontiers… and to confront their darkness.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS has a distinct bitter flavor that is quite unique within MCU films, up to this point. While imperfect, MULTIVERSE OF MADNESS has a sense of daring that feels fresh and exciting. Will this be a polarizing choice within the carefully curated Marvel brand? Maybe, but I dig it.

Forbidden magic and the unfolding consequences of worlds colliding prove to be Doctor Strange’s greatest challenge yet. Doctor Strange must face interdimensional threats, confront alternate versions of himself, and maintain the delicate balance of what is good and what horrific sacrifices must be made for the greater good.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS stars Benedict Cumberbatch, Elizabeth Olsen, and Benedict Wong – returning as Doctor Strange, Wanda Maximoff, and Sorcerer Supreme Wong – and introduces Xochitl Gomez as America Chavez. Iconic horror director Sam Raimi (Evil Dead and Army of Darkness) lets his strong horror instincts come out in full force.

Reader, MULTIVERSE OF MADNESS is horror and it’s damn effective horror. The influence of Evil Dead and Army of Darkness is strong as Raimi brings to life his version of dark magic. From scene to scene quick jump scares, shocking brutality (by Marvel standards), Gothic horror sensibilities, and a good ole fashioned zombie offer a decidedly mature, horror tone that is a total surprise from an MCU film. The comedy factor present in much of Raimi’s work helps bridge the gap between the horror in MULTIVERSE OF MADNESS and the lighter, brighter tone of the rest of the MCU.

Olsen and Cumberbatch are doing incredible work here and add exciting depth and darkness to two tortured characters. MULTIVERSE OF MADNESS distinguishes the both of them as the MCU’s top acting talent, by a long shot. Chaos is imbued in every filmmaking choice. The polished mindbuggery of the first Doctor Strange has been replaced with a more staccato rhythm. Harsh edits and mangled visuals add a frantic note, even a chord of disturbing dissonance to the entire production. If it’s all starting to sound a little symphonic then let me conclude by applauding Danny Elfman’s incredible score. A perfectly assembled orchestra of dread and bedlam.

Regrettably, the massive MCU serpent appears to be eating its own tail. In previous MCU entries, the films were crafted in such a way as to incentivize viewers that happily chase Marvel across its many films and rabbit holes, without alienating new viewers. MULTIVERSE OF MADNESS may be the first Marvel film to fully throw this out the window. Having seen WandaVision is a requirement for understanding the film and familiarity with … What If? and Loki are bolsters. MULTIVERSE OF MADNESS is broadcasting loud and clear that failure to subscribe to Disney+ is a crime punishable by films no longer interested in reaching new audiences or casual fans.

MULTIVERSE OF MADNESS appears to be the foundational stone of this next phase of Marvel. On the one hand, there are exciting and ever-expanding possibilities brought to life by top industry talent, with the following and the cultural foothold to experiment. On the other is the restrictive nature of expectation and relentless branding, a formula that franchise fans need. MULTIVERSE OF MADNESS sits on that axis and will be adored or damned for it. In the opinion of this critic, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is like saddling a tornado. An exciting, scary as hell, force of nature.

Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS opens in U.S. theaters next Friday, May 6.

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Caitlin Kennedy

Caitlin is a sweater enthusiast, film critic, and lean, mean writing machine based in Austin, TX.Her love of film began with being shown Rosemary’s Baby at a particularly impressionable age and she’s been hooked ever since. She loves a good bourbon and hates people who talk in movies. Caitlin has been writing since 2014 and you can find her work on Film Inquiry, The Financial Diet, Shuffle Online, and many others.

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Latest posts by Caitlin Kennedy (see all)

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