For the past couple of years, Sony Pictures has tried to build its comic-book series of films with their Spider-Man Universe. They want to compete against the other companies, as well as complement what is being built in the MCU, potentially connecting the two worlds into one giant amalgamation of blockbuster success. The Sony Spider-Man Universe (abbreviated as the SSU) is meant to expand the sandbox of the friendly neighborhood superhero from Queens by creating pictures about some of the supporting characters in the comics, most of which center around villains. Hence, the arrival of “Venom” (and “Venom: Let There Be Carnage”) and “Morbius” into our local cinema. It has to be said that these projects have been bankable for what they are worth.
While critically panned, audiences have managed to go out of their way to see these pictures. No matter the disdain from the critics, money tells the whole story. Fans of the source material, or the superhero film craze, have made their impact on ticket sales. Because of such, plans for future side-character action flicks are in play. (“Kraven the Hunter,” which releases later this year, and “Venom 3” coming next.) These films are in such a flux that it is hard to pinpoint exactly where they are headed in the grand scheme. Is there going to be a connective tissue to these films? An “Avengers: Endgame”-like picture that ties them? So far, there’s no hint in sight. They are working as separate pictures that mention the Spider-people only by name, without an appearance. The webbing is quite messy.
The Latest Installment in the Sony Spider-Man Universe
The latest one to arrive is “Madame Web,” helmed by television director S.J. Clarkson. She’s known for her work in Marvel’s “The Defenders,” “Jessica Jones,” and “Anatomy of a Scandal.” She has already had some experience in this world of superheroes via the aforementioned Netflix shows. Clarkson only directed two episodes in each one of those series. But that counts as background and experience to work with. However, with how the screenplay has been toyed with and manipulated, I believe nobody was ever going to make “Madame Web” function as a proper film to begin with.
With a disorganized premise and no vision in sight, the latest installment in the SSU once again falls flat. This time without an entertainment factor (or social media gag) to tie it with. From the get-go, there are a few issues. There’s a change to the Madame Web character in this film. Instead of having Cassandra Web be a blind, paralyzed old woman hooked to a web-looking support system like in the comics, she is a young paramedic named Cassie, whose psychic powers emerged during a work-related accident. The change comes with the casting of Dakota Johnson in the titular role. She’s a talented actress who has worked with many fantastic filmmakers, from Luca Guadagnino (with whom she has had her best work) to Maggie Gyllenhaal.
A Tangled Story with Plenty of Webbing
A scene from “Madame Web.” (Photo: Columbia Pictures).
Looking at it from another side, no matter what version of the character she played, Johnson couldn’t nail the nature of it all. She didn’t fit in that elevated superhero realm. And that is for the better, as she could do better in more exciting and rich projects than this one. Nevertheless, the film begins with an expedition in the Peruvian Amazon. We see a pregnant arachnologist (Kerry Bishé) and her travel partner (Tahar Rahim) searching for a rare spider whose venom is rumored to cure all diseases. Everything seems to be going as planned until they find the spider. The expected act occurs and gives us the first impression of how plodding the rest of the film will be.
A bite and a betrayal come into play, which leaves the baby an orphan with powers she will handle in the future. The concept of Cassie’s powers is intriguing on paper, somewhat leaning towards a “Terminator”-like territory. The idea of having a person see and change the future as she pleases is not original per se. Yet, the introduction, at least the basics, has some potential. You can turn that into a worthwhile narrative. Now, the problems arise when discussing the concept’s execution. This whole idea is an inexplicable mess that neither the writing team nor the characters can adequately explain. The film then fast forwards to 2003, where we see Cassie work as an EMT.
During one of her shifts, she has an accident that almost costs Cassie her life. In that near-death experience, she awakens her psychic abilities of seeing (and manipulating the future). One of her visions included her coming across three teenage girls—Julia (Sydney Sweeny), Anya (Isabela Merced), and Mattie (Celeste O’Connor)—who are in great danger. Ezekiel is on the hunt, searching for the girls. He’s a man cursed by his given gifts and now seeks a way to balance things out. Worried for their safety, Cassie groups the three girls. And tries to find a way to stop the man who wants to kill them. A chase film emerges from this premise. But the necessary tension, thrills, or wit to give the viewer a fun time.
Treading the Same Waters as the Pre-MCU Comic Book Movies
Dakota Johnson, Sydney Sweeney, and Isabela Merced in “Madame Web.” (Photo: Columbia Pictures).
Immediately after this set-up for the main plot point, “Madame Web” goes on a trajectory of plodding repetition, where we have scenes of Cassie experiencing visions and Ezekiel talking to himself about wanting to find the girls before it is too late. These constant exposition dumps intertwined with the running-and-gunning make this film a very frustrating experience to endure. There seems to be a lack of vision in the action set pieces and the narrative itself. One might ask if the team put some thought into these sequences. They feel like copies of what came before but rendered to their most unimaginative states.
“Madame Web” treads the same waters as the pre-MCU comic-book movies of the early 2000s, in the likes of “Catwoman,” “Elektra,” and “Daredevil.” It fits into this schematic not only because of its setting and talented cast attached but also because of its sloppy and messy nature. At the center of this story is an interesting, simple story that a filmmaker can play with. Multiple writers were in charge of writing this story. And you immediately get the sensation that what we see on-screen is a simplification of an amalgamation of more than a dozen ideas. There have been many bad comic-book movie releases recently. The difference between a film like “Thor: Love and Thunder” and “The Flash” and this one is that although they are poorly constructed, you can understand the concept. In “Madame Web,” you can’t even grasp it.
“Madame Web” is now playing in theaters worldwide.
