Directed by Sam Remy, who has his own spidy relationship, the film has roots that go back to the original Strange Journey, as well as the two-part Avengers battle against Thanos. “I just made the drama we had,” says Strange, explaining the bulp tool that kept people in oblivion for five years.
The film features a significant addition to the form of a teenage girl (“The Baby Seaters Club” ‘s Zouchtel Gomez) who has the ability to open doors in Multiverse. That power draws Strange into a frenzy to save not only our universe but others as well.
At its best, “Multiverse of Madness” explodes with psychic energy. It may be dark and demanding, but playfully explore the quadrant of Marvel fiction, clearly designed to scare the audience. A layout in particular is worth the entrance fee for viewing with the audience, in a fantastic flex of tools that is now in the studio’s possession.
On the other hand, there is the inevitable mess for arrogance that hides the whole universe, in a way that seems to be inventing a principle on the fly, or a little too sweet for its own good. True, this can be bypassed-but not unless you’re a techie who knows what he’s doing.
Technically, Remy offers a visually impressive exercise, enhanced by a compelling score by musician Danny Elfman (who, at one point, is innovatively into action). Nor should it be overlooked what Cumberbatch and Olson’s caliber actors bring to the fore in terms of intellect and humanity, which help to turn all this costly destruction into weakness and emotion.
Overall, Dr. Strange faces this tremendous challenge. Still, it is possible to enjoy the movie extensively and still be a little disappointed with the multivariate of it all – feeling as if it is guilty of indulging in its own “madness”.
“Doctor Strange in the Multiverse of Madness” premieres in American theaters on May 6. It has been rated PG-13.