Animation is for children. At least, this is what some adults will try to have you believe. Current Disney CEO Bob Chapek is one such adult, which may partially explain why the world is in the midst of a live-action-remake-renaissance. The fine folks over at PIXAR Animation Studios have never held such a belief, knowing that children can handle most of what life can throw at them and that’s there no use hiding them from reality. The same is true of Laika Studios, whose 2009 classic Coraline delighted and terrified audiences of all ages. It was the very first film they’d produced for themselves, having assisted on other projects like The Corpse Bride, but it wouldn’t be their final forray into the world of horror. 3 years later came ParaNorman, which is often overshadowed by it’s predecessor but is no less creative.
The story follows 11 year old Norman, who has the unique ability to see and speak to ghosts, as he attempts to stop a 300 year old witches curse from destroying his town. The curse, which until recently had been held at bay by a crazed hermit, brings back to life the seven jurors who sentenced the witch to death as well as the spirit of the witch herself. Along the way, he is assisted by his older sister Courtney, school bully Alvin, best friend Neil and Neils older brother Mitch. It’s a simpler plot than Coraline but the characters and their dynamics are just as interesting. There’s the classic sibling rivalry betwween Norman and Courtney which also exists between Neil and Mitch, whilst Alvin finds himself clinging to the group out of fear. Courtney’s infatuation with Mitch is especially fun to witness, particularly on a rewatch with the knowledge that Mitch is gay.
The plot never makes a big deal out of that fact. It isn’t a running thread throughout themovie and, when revealed, isn’t given an aura that demands praise. It’s just part of who he is and comes up naturally, which is how it should be. Gay people are more than just their sexuality, which is something that Laika continues to understand. Their following three films would include gay characters, both in the background and the foreground, but there was never a massive deal made about them. Disney has been expecially bad for using gay characters as a marketing gimmick but the fail to grasp that this community isn’t demanding attention. The goal is simply to be included because that’s how it is in reality. The LGBT community only seems loud because it fights so hard to exist without prosecution, which is only getting more difficult by the year. Characters like Mitch normalise a community that has been seen as “other” for decades and help children to realise that, not only are there gay people, but that it’s ok to be gay yourself. It breeds a more open and loving ideollogy in children who see it and provides hope for a netter tomorrow for the community. Mitch was the first gay character in a “children’s” movie and he remains one of the best examples of how such a character can be handeled.
The most interesting development in ParaNorman occurs as act three begins. The seven undead jurors are not the steotypical undead, but are instead victims of the witches curse who wish to be set free. The overall message here is to not jusge a book by its cover but this only works because the idea of a “zombie” is so ingrained in popular culture…which is fascinating. It’s an idea embeded so deep withing society that this tweist works regardless of the age of the viewer and it only works better as time goes on. The zombie genre has seen a surge in popularity over the last decade propelled, in part, by the success of shows like The Walking Dead (a show which ironically will not die). However it also means that subverting the expectation of brain-hungry zomnies is not as unique as it once was, having been used in films like Warm Bodies and Life After Beth. ParaNorman was one of the originators and, considering how well they pulled it off, it’s no wonder it stuck around.
It’s also a remarkable homage to the B Movies of old. The opening scene is an in-universe B Movie which perfectly sends up the hoaky acting, simple sets and bright colours. This homage continues throughout the film itself. Laika’s signature stop-motion animation comes across on screen as more jagged and slow in movement, providing a slightly uneasy feel akin to the low frame rates of early cinema. There’s also a lighter tone than something like Coraline, although it still has its dark moments. The eventual reveal of the witches identity is as heartbreaking in terms of narrative as it is in terms of historical accuracy. There is also a direct link between the witch, the hermit and Norman which is never stated outright but is evident enough from context clues. It feels that a link like that would be directly adressed in a film today, but again ParaNorman refuses to talk down to its audience.
Despite the admiration the creative team clearly have for the horror genre and the admiration audiences should hold for their creative process, ParaNorman remains second fiddle to Coraline.This is likely down to its simplicity and lack of emotional weight in comparrison, but that doesn’t make it a lesser film. ParaNorman has enough charm, humour and stly to stick around in the public conciousness…even garnering a 4K remaster for its tenth anniversary. There is plenty of room for both and they make a spectacular double bill, with Coraline serving as the major scare and ParaNorman acting as a semi-palette cleanser. Both feature a suitably spooky aesthetic and are sure to entertain.
ParaNorman is fun for the whole family.
And, incidentally, a Happy Halloween to you at home!
When is a movie actually two movies? When it’s The Cloverfield Paradox. The third part of the (current) Cloverfield trilogy had an even bigger challenge than its predecessor, needing to live up the legacy of two great movies instead of just one. Instead of going down the “spiritual successor” path, it opted to be a semi-sequel to both, placing all 3 films in a semi-shared universe which is a lot less complicated than it sounds. However, this isn’t where the issue lies, instead it comes with the focus of the plot which comes in two parts. Primarily it follows Ava Hamilton and her crew aboard the Cloverfield Space Station who are testing the Shepard Particle Accelerator to find a source of infinite energy for the Earth which is rapidly running out. Things go horribly wrong when they find themselves catapulted across dimensions to an alternate Earth, which is where the semi-sequel aspect comes in. It causes a rip in dimensions causing what is known as the “Cloverfield Paradox” which opens portals to other dimensions allowing unknown horrors to seep through. Essentially, it gives birth to the Cloverfield Multiverse. It’s an interesting enough story on its own but the secondary plot sees Ava’s husband Michael attempting to survive the carnage back home with a small child in tow.
This decision makes sense in theory. It should allow for more concern for Ava and what awaits her should she get home, but it doesn’t pack the impact it needs to. This is partially because not enough time is dedicated to the secondary plot and the little time that is spent with it doesn’t delve as deep into the monstrous destruction as it needs to. It’s also partially because the primary plot isn’t entirely focused on Ava’s return home. It’s the ultimate goal of her and her crew but they spend most of their time focused on surviving increasingly weird and horrific events aboard the station. The Cloverfield Paradox is trying to be a horror space sci-fi and a re-tread of the original Cloverfield, but it spends an unproportionate amount of time on both meaning that neither feel complete. This is likely due to it not originally being a Cloverfield script. Much like 10 Cloverfield Lane, the project started life as a spec script but unlike that film, The Cloverfield Paradox feels like it’s cramming that IP’s elements in. The former merged it with the script to add a layer of suspense but barely focused on it whilst the latter made it its own point of focus. This plot element didn’t need to be cut but it needed to at least be refined. Perhaps have the Cloverfield Paradox affecting the alternate Earth before jumping back to their own hoping to escape. The reveal in the film’s final moments is tense but mainly due to actor Roger Davies’ performance as Michael instead of the moment feeling earned.
The primary plot aboard the space station is interesting on paper too, yet somehow lacks punch in its delivery. The dynamic between the crew isn’t as solid as a film like Alien, even when it tries to be, because these are standard characters with very little development. They should be the priority and the plot should revolve around how this disaster tests their relationships, which are already tense having lived in a confined space for two years. Instead, the plot treats them as side characters with much of the time on the station being spent with Ava. Eight members is a lot to juggle even when there isn’t an entire secondary story. Alien capped its crew at seven and spent more time with them in the opening act before the attack so that the eventual murders would be impactful. It feels like The Cloverfield Paradox was trying to replicate that but never focusses on the correct aspects.
The word “focus” has been used a lot in this review and, whilst repetition should be avoided where possible, it feels fitting because this film lacks focus. It can’t pick a plot, character or twist to maintain for overly long which simply isn’t an issue had by its predecessors. Those films work, in part, because the aim to tell one sole narrative with a small cast of characters. Cloverfield had 6 friends travelling through a deteriorating New York City to save another friend whilst 10 Cloverfield Lane spent its time with 3 characters in one location with two trying to escape to a world they aren’t even sure is there. The Cloverfield Paradox pits 8 characters against a space station that could collapse at any moment and anomalies that may do worse than kill them while also depicting life on Earth through 2 more characters. There is plenty here that could work if it was given a bigger role but as is, it’s a mediocre display of all these aspects with another stunning Bear Macreary score.
Perhaps the real monster is the Hollywood demand for sequels regardless of quality.
When is a sequel not a sequel? When it’s 10 Cloverfield Lane. The hit follow-up to the iconic Cloverfield had a lot to live up to in terms of legacy but it opted for a different path than most sequels. Instead of being a direct continuation of the story, it serves as a “spiritual successor” which maintains the atmosphere of the IP and very little else. This is largely due to the film beginning development as an independent script from writers Josh Campbell and Matt Stuecken before J.J. Abrams’ production company Bad Robot swooped in and adapted it to fit the world of Cloverfield.
This means that the plot was the primary focus of the script rather than conforming to public perception of legacy or trying to continue a story that needs no continuation. The film sees recently brokenhearted Michelle trapped in a bunker with conspiracy theorist Howard and town handyman Emmet during a supposed global attack. It’s a tale full of twists, with each more crushing to our characters than the last. At the center of it is Howard, whose motivations are always in question whether he seems kind, quirky or malicious. He switches between playing the roles of protagonist and antagonist which keeps the audience on their toes. This would be true regardless of what horrors may or may not await in the outside world.
The ambiguity of what is happening outside adds a further layer of tension. Howard’s theories are never specific enough to be believable but that could just be because he doesn’t know for certain what has happened. This ambiguity would be enough but 10 Cloverfield Lane takes it one step further by seemingly confirming each theory as the story progresses. Is it attacks from Russia, invasion by aliens or is there simply nothing wrong at all? The major twist in the plot may seem to be whether Michelle can escape Howard (and that is a twist) but it’s primarily what may await her if she gets free. This reveal even pulls a bait-and-switch at the very last moment to keep the audience on edge for as long as possible. Knowing the outcome doesn’t harm the ending of the film either, it simply changes why this aspect is so tense. Instead of worrying what may happen to Michelle outside, we become concerned by the lengths she is willing to go through to escape Howard and meet her fate.
Despite not being a found footage flick, there is still a high level of realism present, largely due to the production methods. Instead of filming scenes out of sequence due to location and actor availability, the film was shot entirely in order minus a few pickup shots. They also used MDF Boards (painted to look like concrete) to construct a physical bunker which, aside from allowing them to film however they wanted, allows for a natural flow from room to room. There’s no trying to figure out schematics (a la Seinfeld’s apartment) because this is a physical space with a physical layout. It was also designed to look like it had been built in stages over the course of many years which is a minor enough detail that most probably won’t pick up on it but still adds a layer of authenticity. It’s all wrapped together in the bow that is Bear McCreary’s unsettling score. It allows for an added level of emotion manipulation that the original Cloverfield was never able to provide, and it is never overused. When the scene requires silence, it has it but when the tension needs lifting there’s the score. This is only one of McCreary’s many projects, but he would, most noticeably to me, go on to provide the score for Amazon’s Lord of the Rings: The Rings of Power.
There are those who will claim that the sequel is never as good as the original but films like 10 Cloverfield Lane prove that they are wrong. It’s not just on par with its predecessor, it surpasses it on every level. It has fewer elements in location and cast means that there is a much smaller room for error…so none are made. It’s worth getting trapped with.
When is a monster movie not a monster movie? When it’s Cloverfield. Yes, there’s a monster in it but it’s a more a catalyst for the plot than an actual antagonist. The film isn’t about the creature, it’s about the several lives being destroyed by it’s arrival. This is in stark contrast to something like A Quiet Place, where the protagonists are actively fending off their monsters but that’s only part of why Cloverfield works so well. It has become an icon of the horror genre, with producer J.J. Abrams being asked about the posibility of a sequel for almost a decade after it’s release. Eventually that sequel would come (sort of) and there would even be a threequel (sort of, we’ll get to that). Even now, the Cloverfield brand lives on, with a fourth installment reportedly in early development.
Even after a decade and the technological advancements that came with it, the simple story of Cloverfield remains tense to sit through. It follows a group of friends through the rapidly crumbling city of Manhattan as they attempt to reach a love interest trapped in her apartment that they can’t even garuntee is still alive. Tension builds through how unpredictable the stability of their surroundings areas are as well as how little is shown on screen. It makes excellent use of the found-footage style of filmmaking, proving the age-old adage that less is more. There are scenes where the monster is seen in it’s entirity but it spends the majority of the plot hidden behind buildings or smoke from debris. The biggest threat is the dog-sized parasites that fall from it’s body and lurk around possibly every corner that our protagonists may walk around. The creature designs are a little more basic than something from H.R. Gieger but they’re still memorable enough. The closest look that is given makes it clear that these creatures are more than a little bit gross, in a shot that stands out as one of the most memorable in the entire franchise.
The characters all feel realistic. None of them are the “hero” of the story, even though primary heartthrob Rob is presented that way. Even before the creature attacks, it’s clear that they lead messy lives. Jason and Lily argue like many couples but, although they may seem frustrated with each other, there is still obviously love there. Hud the cameraman and Marlene who wasn’t even meant to be at the party slowly form a bond over the course of the plot despite him being annoying and her being out of his league. Rob the “hero” is the one determined to save his love interest Beth but, having recently slept with her and not called her back, it feels like it’s primarily motivated out of guilt. Real life, much like this iteration of Manhattan, is messy and Cloverfield never shies away from that.
The cherry on top is the lack of score. There’s a Cloverfield Overture that plays through the credits and continues to keep the audience unsettled even after the plot is over, but the entire film has purely diagetic sound. Aside from making sense, given that this is supposed to be a tape found in Central Park, it allows the sound of silence to echo from the screen. There’s no jumpscare sound effects or quivering violins, the film has to scare with atmosphere alone. Even as the story races towards its conclusion and the action amps up, it never feels like a work of pure fiction. If a creature were to land in the middle of one of the most populated areas in the United States, this is likely how it would go down.
Providing visuals for a hypothetical attack is perhaps the most unnerving part of all.
Nowadays, it’s become the public consensus that no TV show has a good finale. People will often point to the likes of Lost, Smallville, and Supernatural but when finales are seen like this it detracts attention away from the ones who get it right. Star Wars: The Clone Wars, Breaking Bad and Friends are just a few examples of endings that are as good as it gets. Stranger Things 4: Part 2 comes very close to being in the latter camp, especially considering it’s just under 4 hours long. Any other finale may meander during this time, taking time away from the primary plot and inserting it elsewhere into background characters, but that’s not the case here. There are secondary characters and tertiary characters but they’ve never been in the background. New favourites like Eddie, Yuri, and Argyle get a large amount of focus, as does the returning season 3 favourite Murray, but they’re as important to the story as the main cast. There isn’t a wasted character here and they are all incredibly likable. Even the villains are characters that are fun to hate.
There’s a lot of tension too, which is a difficult task to accomplish over a long period of time. Technically, episode 8 would be the penultimate one with episode 9 serving as the actual finale but it doesn’t feel constructed that way. Both episodes are considerably longer than the ordinary length, with episode 8 coming in at 1 hour 25 minutes and episode 2 clocking in and a full 2 and a half hours. They were also released on the same day, with the first 7 episodes having been released 5 weeks earlier so it feels like the intention is to treat “part 2” as a separate, conclusive, entity. A lot of it is in the characters. The acting in season 1 was good but the majority of the cast were children and they’ve matured into adult actors now. Millie Bobby Brown will likely receive the majority of praise but she deserves it with her emotional, often scary role as Eleven. The rest of the cast are stellar too, selling the stakes and their love for each other perfectly.
It’s a brilliant finale to look at and listen to. Time is split fairly equally between the real world and the Upside Down, which is as dark and dusty as it’s ever been. It’s never too dark that the action is unwatchable and it’s gorgeous when the red lightning is covering everything. There’s a reason that this specific dimension has become so visually iconic, after all. The soundtrack deserves an equal amount of praise. The original score, composed by Kyle Dixon and Michael Stein, really embodies the often foreboding and occasionally emotional tone. Meanwhile, the songs chosen for the “soundtrack” portion of the finale fit wonderfully. There’s the obvious example of Kate Bush’s Running Up That Hill, which has re-entered the charts after 37 years and become THE song of the series. It would have been nice to perhaps see one of her lesser appreciated hits like Babushka but there are plenty of other songs to obsess over. Musical Youth’s Pass The Dutchie is a delight and there’s a spectacular needle drop for Metallica’s Master of Puppets.
The only issue with the finale is that it isn’t the conclusion of the entire show. It feels like it should have been, considering the amount of hype surrounding its release and finality of the majority of the story. However (and HERE are the spoilers) it feels like the writers didn’t put in the climactic battle between the team and Vecna. With half an hour to go, Max’s life on the line, and a rift opening in the centre of town, Vecna is successfully injured before the plot cuts to 2 days later. I presume that Max has been kept alive (and very broken) to be used as a vessel by Vecna in series 5 but if this isn’t eventually the case, it undermines her attempted sacrifice. Instead, they opt to kill off Eddie Munson which feels unnecessary. Sometimes people don’t need to die to complete their arc and introducing a brand new character to kill off in the space of a series is played out. Marvel has already done it this week so surely the quota has been met.
If the decision to not have the climactic battle was down to production time, it’s still a little infuriating but it’s understandable. You can only do so much with the time that’s allotted to you. But if it was a conscious decision to prolong the run span of the show, it stings a little bit, especially when there’s still no information as to what form the final series will take. It seems like the story could be wrapped up in another 4 hours and perhaps that is what will happen but it’s likely a couple of years away. Of course, the entire point of having a cliffhanger like this is to bring the audience back the following series but runtime is becoming a real concern. There was a noticeably split reaction to Series 4s runtime, to the extent that some people were unsure if they would tune in and this isn’t just a Stranger Things issue (the MCU is facing a similar problem).
This didn’t stop it from amassing 7.2 billion minutes of viewing time for the week of May 30 – June 5 though, which is the most of any streaming series since the advent of weekly streaming rankings.
Ultimately, it’s a mostly solid end to a solid series. Hopefully, series 5 is as good…when it finally arrives.
Wanda Maximoff is dead. Perhaps not literally but metaphorically. After 7 years of wasted potential, like most women in the MCU, this shouldn’t come as a shock, but it does. The TV Series Wandavision focused primarily on Wanda’s grief after killing her one true love, Vision, and allowed Elizabeth Olsen to demonstrate the full range of her acting capabilities. As a mother, she can be caring and full of warmth. As a wife, she can be loving and kind. As an adversary, she can be powerful and vengeful. With the series finale, Wanda finally fully embraced the title and powers of The Scarlett Witch, a big deal for the MCU who have thus far been legally unable to use that moniker. With the Darkhold in her possession and a fierce determination to steal alternate dimension variations of the children she manifested and lost out of magic, she seemed primed to cause havoc on a multiversal scale.
Multiverse of Madness sees this character development and raises you…possession. The Darkhold corrupts everything and everyone around it, leading to Wanda and The Scarlett Witch being treated as two separate entities. This could have been a fascinating dynamic, with Wanda’s non-child-murdering morals combatting. The Scarlet Witches hold over her body but this is not the route taken. The only time that the “real” Wanda makes an appearance is during a scene that takes place in her mind where she is buried under a mound of rubble and can only utter a single “help me” before being pulled back inside. This confirms that the entity known as The Scarlet Witch (a manifestation of the Darkhold) has full control which absolves Wanda of literally everything that occurs during the plot. Wanda isn’t evil or morally questionable like she was in Wandavision, she’s just an innocent victim. To further demonstrate this, The Scarlett Witch speaks with Elizabeth Olsen’s natural American accent instead of the Sokovian accent that she puts on for Wanda. It does mean that Olsen isn’t being held back by an accent that she has struggled to maintain in the past but it also acts as a constant reminder that there is no Wanda anymore.
To cap it all off, she sacrifices herself to destroy the temple where the original Darkhold spells are inscribed. Now, of course, this is the MCU so nobody is ever really dead. As the building collapses on top of her, we see a small poof of red smoke, seemingly to signify that she has teleported out of there. But if this is the case, then it’s not really a sacrifice so any emotion from that moment is lost. The worst-case scenario is that, somehow, the smoke wasn’t a teleport and she’s dead. But what are the chances of the MCU killing off a popular female character…?
The other major spoiler is handled much better. Having been a large part of the marketing (maybe too large a part), the presence of Marvel’s Illuminati comes as no surprise. What is surprising is the characters they chose and the actors who portray them. Chiwetel Ejiofor’s Baron Mordo makes a welcome return as a variant of mainline Mordo. His warm charisma and underlying resentment for Strange serve as proof that mainline Mordo should finally make his return to the MCU. Haley Atwell’s Captain Carter is sure to excite fans, even if the trailer spoiled her presence, especially considering Peggy hasn’t been seen in live-action since 2016. Anson Mount reprising his role of Black Bolt from the unacclaimed Inhumans show is a welcome surprise for those who recognise him. Lashana Lynch returns as Maria Rambeau, taking up the mantle of Captain Marvel. The most divisive casting choice is John Krasinski as Reed Richards/Mr. Fantastic. It’s a casting that fans have been clamoring for, but his presence here seems to imply that he won’t be taking on the same role in the mainline MCU, which may be for the best. He’s fine in the role but his presence is fairly distracting and his uniform is the worst in the entire group. The final member of the Illuminati is proof that nobody is ever really finished playing their most popular character…it’s Sir Patrick Stewart as Professor Xavier. Here he’s portraying a live-action version of the character from the 1997 animated series. His entrance is even accompanied by a snippet of the animated show’s iconic theme, which may be pandering but is sure to provide a smile at the very least.
What may not provide a smile is what happens next. The Scarlett Witch arrives and annihilates the Illuminati. It’s a horrific scene to watch, purely because of the terrifying way in which she dismantles each member. The first sign that you’re about to witness a massacre like no other is when she removes Black Bolt’s mouth, meaning that when he screams (a scream with the power to destroy anything in its path), his head literally caves in. It doesn’t ease up from here with spaghettification and decapitation providing a manic display of her power. This is where the classic Raimi horror element really comes into its own. Using these characters like this may feel like a waste to some but it’s a heck of a perfect demonstration of what The Scarlett Witch is capable of.
The credits scenes are neat too. The first introduces actress Charlize Theron as Clea – daughter of Dormammu and possible love interest for Strange. Obviously, there are many big-name actors in the MCU, many of whom got there in part due to the MCU, but Theron is already a huge name. It feels like proof that the MCU is only getting bigger and that it isn’t slowing down anytime soon, which is a thought that may exhaust some. The second scene brings back one of the most entertaining cameos in the entire film – Bruce Campbell as Pizza Poppa. He provides a zany, early comic book movie energy that only Campbell could provide, and which should leave the audience smiling as they depart the cinema.
As discussed in the spoiler-free review, there is plenty to enjoy in Multiverse of Madness. The Raimi vibes really work but many of the decisions made by the creative team will be divisive, if not infuriating. It’s still worth watching for the little moments of gold…not that MCU fans have much of a choice. Missing one story may mean missing an important piece of context for future tales, so keep your eyes fixated.
If you’re lucky, you might get rewarded with a Bruce Campbell.
(My thanks to Nate at Natflix for checking this one out with me. Check his review HERE)
Director Sam Raimi created one of the greatest superhero films of all time. It’s a sequel, so it doesn’t have to spend much time establishing character backstories. The villain’s origin is full of tragedy while the character themself is immensely likable. The hero is a quip machine with the charisma of a young Tom Cruise. Above all, despite often being a campy comic book movie, it has solid horror elements embedded into it. It is unmistakably a Sam Raimi production and doesn’t feel like it was poked or prodded by studio executives. That masterpiece’s name is… Spider-Man 2.
This is why, when it was announced that Raimi would be taking over directing duties from Scott Derickson on the sequel to Doctor Strange, excitement was high. When the trailers finally started appearing, it seemed as if Multiverse of Madness would be a much darker tale than any in the MCU, and it was… so why doesn’t it feel like a top-tier Marvel production?
The plot sees Dr. Stephen Strange attempting to save multiverse-hopping-teen America Chavez from the clutches of The Scarlett Witch (aka Wanda Maximoff). Despite a promising premise, there is very little of the multiverse actually being explored. The first time that Strange and Chavez jump to a different universe they crash through 20 separate universes, but they will spend the majority of the runtime in the final one they land in. These universes look absolutely stunning, and they are brimming with potential as well as looking like they could house an interesting story. Instead, the plot is split between the universe they land in, dubbed 838, and the one they came from, dubbed 616 (a cute comic nod as the actual designation is 19999). It allows more time to be spent with the 838 characters, which is fine as they’re all interesting enough, but it’s difficult not to feel a little disappointed when you’re promised a multiverse. Using more universes could have further demonstrated how ruthless, powerful, and merciless The Scarlett Witch is. It could have shown off more variations of Stephen and Wong (who is sorely lacking in the rest of the plot) as proof that 19999 Stephen is the only nice one. It could have been an opportunity to shove in more cameos, should the studio be inclined.
This doesn’t mean that there are no shoe-horned cameos. It’s a move that’s sure to divide audiences on several different levels. There will be people who feel like the plot doesn’t warrant these cameos, those who disagree with the characters chosen, those who disagree with the actors chosen for these roles, and those who disagree with how these characters are utilised. Personally, I only disagree with having the characters present, but to say any more would be to venture into spoiler territory, which is also the case with The Scarlett Witch. Throughout this piece, she has not been referred to as Wanda Maximoff because Wanda hasn’t been present. The film robs her of any real agency which, in turn, prevents her from being a sympathetic villain, which is a shame because this may be the defining performance of actress Elizabeth Olsen’s career. Wanda, as with most MCU women, has taken a backseat to her male counterparts but Olsen has always been terrific in the role. She was really allowed to display the full range of her capabilities in the show Wandavision which earned her deserved acclaim. It’s present here too, with The Scarlett Witch being one of the gravest threats any hero has ever faced and providing some truly chilling moments.
Divisiveness is rife in Multiverse of Madness. The aspects that don’t work (Wanda, presence of cameos, pacing, some of the humour) are noticeable but the moments that do work provide some MCU highlights. When Sam Raimi’s signature voice is allowed to shine through, it provides a comic-book vibe similar to his work on Spider-Man and an MCU experience like no other. Many have suggested that the film is too scary for a 12 rating but scaring young people (if the film does so) is a good thing, as if children aren’t allowed to experience fear then they don’t learn how to cope with that fear. Besides, many children enjoy the rush that comes with being scared. Saying that, although the film may not have earned a 15 rating, it may have been better had it been allowed one. Raimi can work well within restrictions, but if he’s being allowed to craft a horror film then he should be allowed to craft a full-Raimi horror film. When his voice comes through, it provides some wonderfully dark stuff and Zombie Strange is straight-up one of the best characters in the MCU. Partnered with Danny Elfman’s beautifully chilling and occasionally triumphant score, it provides some stellar storytelling. Where it falls apart is in the “MCU” of it all.
Perhaps the future should be a little less multiversal and a little more mad.