Madame Web: Mark Kermode’s superhero film review (video).
Our man-of-many-movies, Mark Kermode, is here to jump into the sprawling tapestry of superhero cinema, the latest thread of which, Madame Web, aims to weave its unique pattern but ends up tangled in its own web of ambitions. Watch the video above to hear Mark’s reactions and thoughts. And here at SFcrowsnest Towers, what did we think? Read on!
This story, which S.J. Clarkson is directing for the first time as a feature film director, aims to delve into the origins of the title character, Cassie Webb, played by Dakota Johnson with a mix of grace and grit. Alongside Johnson, a diverse cast, including Sydney Sweeney, Celeste O’Connor, and Isabela Merced, piles into to this cinematic canvas, each representing potential Spider-Women entangled in a fate spun long before their time.
The film unfolds against the backdrop of 1973’s Peruvian jungles, where betrayal and the quest for a miraculous spider set off a chain of events echoing through the decades. Fast forward to 2003, and Cassie, now a New York paramedic, grapples with newfound psychic abilities following a brush with death. These abilities draw her into a collision course with Ezekiel Sims, a figure from her mother’s past with his own precognitive powers and a sinister agenda.
“Madame Web” ambitiously attempts to expand Sony’s Spider-Man universe, weaving in threads of destiny, power, and the relentless pursuit of saving one’s future from the clutches of the past. Clarkson, alongside co-writers Claire Parker, Matt Sazama, and Burk Sharpless, navigates through a labyrinth of time, visions, and interdimensional insights, striving to offer a fresh perspective on the superhero genre.
However, the endeavor, while noble in its intent, seems to falter under the weight of its own complexity. The film’s reception has been less than stellar, with critics finding the plot predictable and the execution uneven. The aspiration to delve into the psychological and cerebral dimensions of Cassie’s character—a woman battling with the implications of her powers while confronting a malevolent force—resonates with the thematic richness often sought but seldom achieved in superhero narratives.
Despite the film’s earnest approach to storytelling and its attempts to chart new territories in the SSU, it appears to have missed the mark. Critics have been quick to label it an “embarrassing mess” and the potential “death of the superhero genre,” comparing its missteps to those of previous low points in comic book adaptations. Yet, within this chorus of disapproval, there lies a nuanced appreciation for the performances, particularly Johnson’s portrayal of Cassie Webb, a character whose strength lies not in physical prowess but in the depths of her mind and the breadth of her visions.
In the grand spectacle of superhero films, “Madame Web” might not swing as high as intended, but it dares to dangle threads of innovation and introspection. Whether these threads will be woven into the larger fabric of the SSU’s future remains to be seen. As the dust settles and the echoes of critique fade, one can’t help but ponder the paths untaken and the potential for redemption in the web of storytelling. In the realm of heroes and villains, the line between triumph and misstep is as thin as a spider’s silk, and “Madame Web” treads this line with an ambitious, albeit faltering, stride.
