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.

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.

It's one of the lesser Marvel movies... Both overly-complicated and dull.

Had this been any other filmmaker these moments would have probably looked mundane, but Raimi’s personal touches elevate this into an alluring spectacle with some genuine sense of terror.

Much like the bizarre, quirky, and uneven “Spider-Man 3,” this “Doctor Strange” sequel has the potential to become a cult favorite of sorts. For now, though, it’s good, bombastic fun.

“Doctor Strange in the Multiverse of Madness” is a visual treat. It’s a film that knows the demands of its fanbase—and promptly delivers on its promise. Whether it makes good on what the audience needs, however, is pretty much up in the air.

If Feige’s vision is to create a library of films equaling that of a comic book display, there’s no better example of that than Raimi’s return to the house he helped build.