Seven weeks after its theatrical release, ‘Doctor Strange in the Multiverse of Madness’, the latest Marvel movie and a good example of fantastic with tendencies to horror, a trademark of Sam Raimi’s house.
There was a lot of desire to see what Raimi (who had already directed the first Spider-Man trilogy for Marvel) would do with a hero who, by characteristics and lore, it fit perfectly in its terrain. Obviously we were not going to find gore or offal in abundance (we did not stop being, well, in Marvel) but still his hand and his influences are noticeable.
Good dose of dark fantasy
Raimi came to ‘Doctor Strange in the multiverse of madness’ after the departure of Scott Derrickson and He came wanting to play and make us have a good time. And in that sense, it has been a complete success signing a fantastic film, fun and at times disturbing (perhaps more in speech than in images).
Thus, with a script Tom Waldron (who already signed the script for ‘Loki’), we have an interesting dose of monsters in which the adventure with America Chavez (Xochitl Gomez) and his meeting with Stephen Strange (Benedict Cumberbatch)who tries to protect her from the threat she represents Wanda (Elizabeth Olsen).
The latter is something that aroused certain complaints from the fandom, who accused those above of betraying the Scarlet Witch. Apparently these missed the superheroine’s downward spiral in ‘Scarlet Witch and Vision’, whose post-credits scene completely fits what we find here.
Regardless of controversial fans (what we like a good discussion), we find a highly entertaining adventure, at times ingenious and with unusually violent and gloomy moments. In a few cast-movie moments, it’s quite refreshing that ‘Doctor Strange in the Multiverse of Madness’ manages to burn certain sequences and shots into our retinas.
In addition, Raimi manages to work with the demands and tolls of Marvel Studios. Even the obligatory “cameos” (the Illuminati in this case), which serve to expand the MCU by planting seeds for the future (another thing is that Feige does not want to go there later), are well resolved on screen.
Shrinking the window between cinema and platform
Now, the film arrives at Disney + a little earlier than usual, since with other films such as ‘Eternals’ or ‘Shang-Chi’, the window has been two months between theaters and platform. It thus approaches the 45-day window that Warner is already practicing with HBO Max (and there we have ‘The Batman’ or ‘Fantastic Animals: Dumbledore’s secrets).
It seems that Disney does not want the noise around the film to cool down, since the film opens on platforms after a good harvest of audiences in theaterswith a collection of more than nine hundred million dollars against an estimated budget of almost two hundred million.