One of the risks of franchise filmmaking is that eventually too much of a good thing can become overwhelming and exhausting. "Doctor Strange in the Multiverse of Madness," the sequel to the 2016 introduction to Benedict Cumberbatch's Dr. Stephen Strange, occasionally falls into the trap of having to expound on something made prevalent by a previous movie, taking the shine off of its ultimate impact. Admittedly that might not be a fair way to judge the film, but it is an accepted risk of the Marvel Cinematic Universe.
"Doctor Strange in the Multiverse of Madness" is the next MCU film, following last year's wonderful "Spider-Man: No Way Home" (remember when Marvel films happened only once a year? A "Thor" sequel is still to come in a few months). In the last "Spider-Man" film, the concept of the multiverse was introduced, which brought characters from previous "Spider-Man" franchises back to the big screen. It was fun, inventive (if occasionally narratively wobbly) and emotionally satisfying. The new "Doctor Strange" film isn't afforded the same payoff, for a variety of reasons, because by expanding the multiverse concept, "Doctor Strange in the Multiverse of Madness" becomes twisted and bogged down in exposition and mythology. It makes "Spider-Man: No Way Home" look quaint, as silly as that may sound.
When the film opens, Dr. Strange (Cumberbatch) is attending the wedding of former colleague and girlfriend Dr. Christine Palmer (Rachel McAdams, who gets a bit more to do this time around). He's apprehensive to be there, but is whisked away when he notices a great deal of commotion outside in the streets. Monsters are destroying everything in their sight, but it appears they are after America Chavez (Xochitl Gomex), a teenager who has the ability to travel through the multiverses. Dr. Strange isn't sure why she has this power and what made her cross paths with him and Wong (Benedict Wong), but he aims to find out, which leads him to Wanda Maximoff (Elizabeth Olsen).
"Doctor Strange" was very much a Marvel origin story, but it separated itself from the other films with its inventive visuals and Scott Derrickson's direction. Derrickson stepped down from helming the sequel and Sam Raimi took over directing duties for this new chapter. "Doctor Strange in the Multiverse of Madness" works best when Raimi's vision is on screen. It's hard for superhero movies to feel like they have their own identity (which is what makes Tom Holland's "Spider-Man" series such a highlight of the MCU) because these movies are meticulously crafted by committee. Raimi gets to infuse the action and imagery with a much darker vision at times before the inherent Marvel sheen glosses over it all.
"Doctor Strange in the Multiverse of Madness" is all about the multiverse aspect, and light on just about everything else it presents. There are several moments when the film aims for emotional resonance, but the character of Dr. Strange has never welcomed audiences in on a deeper level. Whether in his own movies, "Spider-Man: No Way Home" or the "Avenger" films, Dr. Strange has always been on standby to deliver a dry line of dialog. It's to the movie's detriment how often it gets knotted up in its story, which assumes you've watched Disney+'s "WandaVision," and casts some of its characters aside. America Chavez serves merely as a plot device, but the movie wants more out of her, but doesn't take the time to introduce the character in any meaningful way.
As hollow as "Doctor Strange in the Multiverse of Madness" can ring, it offers enough grandiose spectacle to get lost in. Being able to get lost in its story as well might have made for a more compelling film.
Doctor Strange in the Multiverse of Madness Movie Review By Matthew Passantino
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