Marvel is often likened to the Coca-Cola of superhero movies, while DC is considered the Pepsi. However, Sony finds itself in the realm of RC Cola – a somewhat satisfactory substitute when the desired option is unavailable. Despite holding the rights to Spider-Man since the late 1990s, Sony struggled to capitalize on the character’s potential throughout the 2010s. This changed when a deal was struck to integrate Spider-Man into the Marvel Cinematic Universe (MCU), particularly with the introduction of the charismatic Tom Holland as the web-slinger. However, Sony faced a unique challenge; while owning Spider-Man and its extensive universe of characters, they were unable to fully incorporate them into the same films due to licensing constraints.
This dilemma birthed a peculiar series of films starting with 2018’s Venom, set in a world revolving around a character whose name cannot be mentioned within it, reminiscent of a production of Rosencrantz and Guildenstern Are Dead devoid of Hamlet’s presence. As the previous DC Universe fizzled out and Marvel postponed most of its releases, Sony found itself with three comic-book movies slated for release, marking a downturn in the genre’s fortunes.
Among these releases is Madame Web, a film that, despite its mockery-worthy trailer, managed to deliver on expectations of being abysmal. Directed by S.J. Clarkson and starring Dakota Johnson as Cassandra Webb, the movie revolves around a paramedic who gains the ability to foresee the future after a drowning incident. While marginally competent at its best, Madame Web descends into incoherence, featuring performances from movie stars seemingly regretting their involvement. Yet, amid its travesty, there lies an unexpected enjoyment, a testament to the allure of novelty in a sea of formulaic superhero films.
Despite its flaws, Madame Web stands out for deviating from recent genre norms, presenting a version of New York that feels authentic and action sequences that are visually coherent. However, these merits are overshadowed by the film’s glaring deficiencies, including poorly executed dialogue and disjointed plotlines.
The movie ends with the promise of a better sequel, echoing the trend set by previous Sony superhero films. Madame Web introduces Ezekiel Sims as the main antagonist, who, like Cassandra, gains powers from a Peruvian arachnid bite. The vague glimpses of future crime-fighting webslingers add confusion rather than intrigue, leaving audiences perplexed about the characters’ identities.
While many superhero movies demand viewership as if it were a mandate, Madame Web offers a refreshing departure from this norm. Unintentionally embracing pure camp, the film provides an entertaining experience despite its shortcomings. Ultimately, missing Madame Web comes at little cost, except for forgoing a couple of amusing hours in the theater.