NOTE: This review contains spoilers for: Avengers: Infinity War, Avengers: Endgame, Wandavision.

NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.

Doctor Strange (Benedict Cumberbatch), complete with a brand-new hair and wardrobe style, and a teenager, America (Xochitl Gomez) run down a shimmering bridge in a seemingly cosmic realm. They make a mad dash towards a floating tome in the sky while avoiding the attacks of a cosmic terror chasing after them; the creature blocks the duo’s path to the tome and Strange begins to despair. He turns to America and tells her that due to the level of threat the duo faces, he’ll have to sacrifice her; the creature is after her powers and she can’t control, so sacrificing her and allowing the experienced Doctor Strange to take the powers instead will at least give the “good” guys a fighting chance. America is aghast at the proposed solution, but as Strange reaches over to begin the sacrificial transference, the creature impales him, stopping him in his tracks.

America freaks out in response to the attack and subconsciously uses her power, breaking a star-shaped wormhole in the fabric of reality; both she her and the recently deceased Doctor Strange are up by the force of the portal. The camera rotates 180° as the two are sucked in and the corpse of Doctor Strange takes central focus – a sudden match cut to the Doctor Strange we know. He wakes up in a fright obviously disturbed by his nightmarish vision. His face is reflected in a broken watch face, reflecting the turmoil and lack of cohesion he feels.

He magically changes clothes and adorns a suit and tie – a far cry from his robe. He makes his way to his former lover Christine’s (Rachel McAdams) wedding where he’s accosted by a former colleague on the decisions made during Avengers: Infinity War; Strange is challenged on the possibility of having allowed Thanos’s brutal snap due to ineptitude rather than necessity. But Strange persists that he did what he had to do.

When he goes to congratulate and honestly talk to Christine about her future and their shared time together, he’s once again brought to task for his decision-making process. Christine points out that their relationship would never be able to work even if Stephen wasn’t a sorcerer tasked with protecting the realms because his inability to let other people, herself included, handle or share responsibilities make genuine connection and change impossible to achieve. The nightmarish opening rears its ugly head again as the most recent confirmation of this truth: Doctor Strange cannot trust others to act properly so he has to ensure things go according to his vision and his vision alone.

Before he can think for too long, a monstrous disturbance makes its presence known. Doctor Strange seamlessly transforms on screen via the use of his magical cape and dashes into action with magical aplomb. He reveals the source of the disturbance, an tentacular cosmic creature, who wreaks havoc chasing after none other than America, the girl from Strange’s dream.

Director Sam Raimi, no stranger to super-hero fare, captures the sorcerer’s battle with the creature using his trademark style from the Spider-Man trilogy; Strange and company move deftly through the cityscape as terrified bystanders run around, lending to a chaotic flurry. Raimi cuts to singular shots of the bystanders reacting to the spectacle on display, accentuating the campy aspects of the story while capitalizing on the catharsis inherent to watching a super-hero rescue the innocent. The battle beats may be familiar, but the vitality inherent in their craft makes them a joy to watch. Finally, the battle ends with a gory finish atypical of Marvel fare and more reminiscent of Raimi’s own filmography- a sign of the things to come.

Strange questions America regarding her presence; it’s not everyday figures from dreams burst into reality. But America pops Strange’s bubble and reveals that his vision, far from being a dream, was a reality from another universe, one of many universes spanning the multiverse. America’s unease around him suddenly makes sense; it may have been him from another dimension, but it was still a Dr. Strange that threatened to and attempted to kill a teenager in order to preserve the greater good. But our Strange convinces America to divulge the nature of her troubles and comes to understand that she’s being chased through the multiverse by some entity desperate to use and her control her powers; America has the ability to freely travel the multiverse through her star-shaped portals but presently does not have control over when and where the power manifests.

With no other clue to go on besides some runic enchantments on the tentacle creature from before, Strange sends America to the magical abode of Kamar Taj with Sorceror Supreme Wong (Benedict Wong) and visits Wanda (Elizabeth Olsen), the only magical being he knows of who may be able to understand the runes. Unfortunately, she warns him that the threat chasing after America is far more dangerous and threatening than he could have conceptualized. Strange realizes the stakes of allowing such a creature access to unbridled access to every universe would be catastrophic and is now tasked with protecting America’s power.

As the antagonistic force chasing America comes closer to succeeding, the film is allowed to become stranger and more in line with Raimi’s horror filmography à la The Evil Dead. For the first time in the M.C.U’s franchise history(28 films including this one), it feels like the director has been given reign to exhibit the unexplored territories of comic book movies and Raimi takes full advantage to ramp up the tension and intrigue. The force chasing after America is a behemoth of an antagonist and Raimi captures their presence as monstrous; there are sequences that feel straight out of a slasher film as the enemy pursues America, generating a palpable tension that the franchise has never truly had before.

Canted angles, well-timed jump scares, brutal death sequences, and even the spectral P.O.V shot Raimi created in The Evil Dead are incorporated to underscore the depravity of the threat. The score cuts out at perfect moments to build up the dread and the brutality by which the antagonist carries out their mission always feels like a serious threat. It’s in this commitment to visually reinforcing the terror of the antagonist that Raimi finds a way to counterbalance the campy, goofier sections of the film without incurring a tonal whiplash.

Yet, in spite of the film’s distinct Raimi-isms, it never feels contextually out of place within the grander scheme of the M.C.U because it develops its characters’ arcs in germane fashion relative to what came before. For Doctor Strange, the journey he experiences in Doctor Strange, going from doctor saving lives with medicine to sorcerer saving lives in the trillions with magic, is never broached on again in the other entries of the franchise involving the character. He never has to deal with inability to reconcile with Christine or how the nature of his role as sorcerer runs in direct contrast to his Hippocratic oath; the idea of sacrificing America at the start of the film is reminiscent of the Strange we’ve seen up to now and this story sees him returning to his roots to re-discover just why he’s doing what he’s doing.

Likewise, Wanda’s’ journey from Wandavision picks up soon after the series ends and follows her as she navigates the nature of her powers and the ways they implicate her reasons for acting. Like Stephen, her character has had little time to deal with the depths of her trauma and is given an opportunity to tackle those issues head on while traversing the multiverse. Both characters get to meet alternate versions of themselves who, driven by the same passions, have made slightly different decisions than them resulting in vastly different lives. Through this, the characters are given the opportunity to reflect on themselves in an authentic fashion.

By maneuvering the set-pieces and pivotal story moments around emphatic character moments, Raimi is able to elevate the hobbled narrative that finds itself jumping from one MacGuffin to the next. Because every movement is motivated by or centered around the characters’ decisions, they feel relevant and make the piecemeal story cohesive. While the logic behind the story might be forgettable, the emotional resonance of important character beats persists and makes an Frankeinsteined story wholly engaging.

The biggest proof of this is America who serves as the biggest MacGuffin of all. She’s both the target of the antagonistic forces and Doctor Strange and company. One side definitively wants to kill and take her powers and the other side is willing to protect her but has shown the capacity to act in a more malicious manner. Both sets of characters are in constant pursuit of her and as their convictions come to the surface, the status of her relation to her powers changes. She becomes an external representation of the characters’ arcs and her status as MacGuffin reflects these developments. Consequently, when the character arcs start to come to a close, the film proceeds in domino effect with each arc pushing one another to a close.

While this approach may disappoint fans of the franchise looking for more explosive worldbuilding or rich storytelling, its a refreshing change of pace that should entice those tired of the usual trappings associated with the genre. The character focus is gripping enough to keep the viewer engaged and Raimi’s direction buoys otherwise contrived story moments and makes emotionally rich moments all the more compelling. Fans of the characters and of the horror sensibilities of Raimi will be more than satisfied with this latest superhero outing.

REPORT CARD

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