Doctor Strange in the Multiverse of Madness

the tale translates poorly to the big screen, even with the filmmaker working overtime to inject his raucous appetite for horror into what still needs to be a PG-13 crowd-pleaser.

If Marvel directors are often merely first among hired hands... Raimi is allowed a creative signature, delivering a family-friendly take on the chills that first made his name with 1981 cult favourite The Evil Dead.

It might be Marvel's multiverse, but Doctor Strange in the Multiverse of Madness is Raimi's plaything. And we wouldn't want it any other way.

It's going to service fans... but even if you aren't a fan you can come into it and embrace it as a standalone film.

The result of all this is a lot of crumbling masonry and an abundance of gruesomely charred bodies that make it clear Raimi is out to honour his horror movie credentials. But for all his efforts, the effect is curiously uninvolving.

“Doctor Strange in the Multiverse of Madness” eliminates the playful idiosyncrasy in the interest of formula—of Marvel’s self-perpetuating business. The new film isn’t merely branded entertainment; it’s branding as entertainment.

With all the action and horror elements, it’s easy to lose track of the fact that the story at the heart of the film is essentially a tragedy.

Doctor Strange in the Multiverse of Madness is a step in the right direction for Disney and Marvel, but the excitement of the franchise has dimmed just enough to make it a pyrrhic victory.

Raimi brings the violence and gore that previous iterations have been missing&#59; audiences may not have ever witnessed a director make a movie quite their own as Raimi does while retaining the MCU’s signature DNA. 



There’s nothing significant in the storytelling of Multiverse of Madness, and Marvel’s new fashion of introducing cameos to bring more audiences to watch these movies has become quite unremarkable.