‘Doctor Strange in the Multiverse of Madness’: Disney’s hit

Ancient horror master Sam Raimi launched the next chapter of the Marvel universe with “Doctor Strange in the Multiverse of Madness.” Despite the psychedelic leaps through time and space, the imagination is missing.

The multiverse in cinema is strange. Suddenly, the imaginary barrier of the screen was no longer enough. As our world continues to transform, it must create more internal barriers, which can be demolished again in order to divide and multiply itself. What can be experienced in the shards and shards of this divided mirror world is now just madness – ‘Doctor Strange in the Multiverse of Madness’ attests to it every minute. As a result, cinema, as a sheltered place of retreat and a place of concentration of reality, is overwhelmed by all the intangible synchronizations of the digital world. Deepening it, concentrating it, or even fixing it has made it come out. Reality is beyond its scope.

Marvel’s multiverse cinema in Doctor Strange is the cinema that looks only at each room from its emergency exit and, when in doubt, offers its antithesis to every thesis and sledgehammer to every monument in order to immediately shake it off its base. She frees herself from her limitations and responsibilities, not only opening up alien worlds, but above all new options to rewrite and revive her material, leaving for a while to buy some time to plan ahead. Meanwhile, the countless paths since “Avengers: Endgame” are taking new turns and wrong intersections, splitting into paradoxes. Everything is networked, everything is stray. Their maps, drawn over the years, still appear as empty promises.

Troubles that became pictures

“Doctor Strange in the Multiverse of Madness” is like the pictorial mental episode of a Hollywood machine that aimlessly transformed a sensory-enough aesthetic burden. This movie feels like a journey, leaving you dizzy across digital realms. His audiovisual volts, picture puzzles, and violations of reality were presented on screen as slanting and dissonant, often abruptly interrupting the flicker of impressions, the universe, and sounds transformed into images, as a collection of gaps in his imagination. Where this aimlessness prevails, it now sells itself only as conditional experience.

Once again, the eminent master of ceremonies was brought behind the camera: horror expert Sam Raimi took the course of this Marvel adventure, known for cult works such as “Dance of the Devils”, and the “Spider-Man” trilogy with Tobey Maguire or Drag Me to Hell. His sparsely scattered trademarks seem like little quotes and liberties left to artists in the Marvel Universe. Taika Waititi got slapstick in Thor 3, allowed Chloé Zhao to shoot beautiful landscapes in “The Eternals” and Sam Raimi now lets the dead dance in “Doctor Strange.”

In his film, viewers fear loud explosions, gouging out dark monsters’ eyes and misusing bodies. Of course, everything is illustrated as part of the FSK 12 corset. The speed of impressions robs all the horror of its duration anyway. And so it passes through the Marvel-esque hustle and bustle at a frantic pace that flutters your eyelids and loses your direction as all the simultaneous juxtaposition of places other than places creates its own surreal universe.

Or become a witch

In the beginning, the parallel universe called Disney+ opens up to spit the protagonist from WandaVision back on the screen from where it came from. But now, as her evil counterpart the Scarlet Witch, played by Elizabeth Olsen, is stalking the Disneyverse and must be banned by Doctor Strange and Co.

All humans must be told again. About evil in people, confrontation with the negative side of the individual. At its core, it has to do with feelings of motherhood and guilt, but her outer frame is immeasurably exploding. The first trailer for James Cameron’s “Avatar 2” says “This family is our fortress,” which appears as a supporting work for this film. And Doctor Strange in the Multiverse of Madness answers that.

What would happen if…

The family had already become a fortress here, a wicked witch’s temple. Sometimes it appears as a charming ruin, sometimes as a dream suburban ruin. And so one of the central themes of “WandaVision” continues: the devastating retreat into our microcosm. Every psychedelic World Travel Squadron must be caught on a small scale.

Meanwhile, not all of the magic is appropriate for true overkill or even overkill, as this movie abhors its multiverse too much. He’s long since smuggled rigorous routine into brain-twisting. The question of what would have happened if all of this could have been so different, could have gone so differently, and ultimately lead inevitably to a critical reversal in its own film universe, is something Doctor Strange in the Multiverse of Madness stubbornly rejects. .

Multiverse as free pass

Very early on, Sam Raimi showed a descent through space-time doing everything that could be done with a creative spirit in comics. He passes through cyberspace and primal times, through animated worlds and a flood of colour, only to end up again often sober and unimaginative. The “madness” that bears her name is said to be found primarily in the gothic haze and crumbling CGI cities. Here and there the cast of characters, with their individual fate, flirt a little, but basically everything is striving to restore the familiar old world, which has literally stopped for two hours. The idea of ​​the multiverse loses all its productivity simply because this movie raises one fact, namely those of the previous movies, to the comparative standard of all things.

Only a few characters can get out of it. Resolving it could really mean undermining the cohesion of one’s own cinematic chain – an idea that the creators seem to be more terrifying than it could be sinister with its diabolical minions. Anything truly perfect, or at least a dystopia, this movie serves only as the backdrop to the grueling superhero brawl, as a constant piece one goes through with suspicion alone.

Either way, the multiverse presents itself as a disappointing free pass. The opening serves only as an option to regulate some arbitrary absurdity. In calculating the knowledge that behind each of these moments can lay a laughing smile, he has no real consequences to be afraid of when jumping into another world. What does not fit well with the audience is locked away in the parallel dimension, and the rest is lost in the usual allusion to the future.

Treehouse from Marvel’s Horror

Doctor Strange finally sets out on a strange experimental journey through a multidimensional, aimless and destinationless space, blind to much to discover. He simply lacks the courage to allow someone like Sam Raimi to live his element to the fullest. There is a lack of courage to actually reflect one’s world, and distorted images that very quickly turn into a mere continuation of the familiar. Which always proves to be a narrative game, the consequences of which either seem the same or are unclear.

Doctor Strange in the Multiverse of Madness is the Marvel sequel to the episodes of The Simpsons’ Treehouse of Horror. Only once acting insane, obsessive, mysterious, you explore shivering alternate realities in order to unwind in the comforting feeling that the familiar and the ordinary are always waiting to return.

A broken and doubled imagination has long since lost faith in itself. She thinks of alternatives to past bad actions, inflates them and then lets air out again. In the end, it decomposes itself, robbing its audience of useless lives without having to tell anything meaningful. Surrealistic and upside-down wreckage in this comic world is a remnant of its irrelevance.

“Doctor Strange in the Multiverse of Madness” will be shown in German cinemas from May 4, 2022.

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