Last year the internet decided to trick Sony into putting “Morbius” back in theaters twice. When the movie flopped two separate times it felt like Sony may take a break from using their Marvels IPs. The “Madame Web” trailer was released and it became abundantly clear they learned nothing from their past mistakes. “Madame Web” sets a new low for Sony and superhero movies in general.
The movie begins with Cassandra’s mom researching spiders in Peru that are rumored to gift people mystical powers. When she locates one, Cassandra’s mom is betrayed by a coworker who hopes to use its powers for their own good. The narrative then jumps to 2003, where Cassandra Web slowly discovers her clairvoyance abilities and is tasked with the protection of three teenage girls from a mysterious man who wants them dead. Writing a story where the main character can see the future is never an easy task, and this movie makes a pitiful attempt. The movie struggles to maintain tension, given Cassandra’s foresight into looming threats. This precognitive edge completely flattens the narrative arc, as anticipated issues lack the element of surprise. The storyline’s critical points feel underexplored, with many making no sense. Labeling the final act as a climax might stretch the term, considering the lack of stakes. The narrative’s predictability, coupled with plot holes results in a mess of a script.
“Madame Web” includes some well-known talent, including Dakota Johnson and Sydney Sweeney, whose performances are difficult to judge due to the lackluster script. It hinders the actor’s ability to show any real emotion on screen. The line delivery felt like each actor was filmed separately and was poorly stitched together. Compounded by the film’s overly serious tone, the dialogue suffers even more. The result is a narrative experience that would struggle even with a star-studded cast.
On top of the script’s shortcomings, the visual aspects of the film do little to redeem its overall quality. The editing lacks clear direction or purpose in its transitions. This erratic cutting isn’t confined to action sequences but extends into simple dialogue scenes, where abrupt changes in camera angles mid-sentence are disorienting. Visually, the film attempts to fit with color-grading styles characteristic of other Sony Marvel movies, yet fails to deliver a pleasing aesthetic. When combined with low-budget CGI, the result is an almost dizzying and unappealing experience.
This movie seems to continue the trend of underwhelming Sony superhero movies, which have consistently struggled to find their identity in the three prior movies. There is little hope that the reception of this movie will spark a reevaluation of Sony’s strategy towards their Marvel properties. Despite having some talent with Dakota Johnson and Sydney Sweeney at the head, “Madame Web” will only be remembered for its lazy dialogue, messy script, and disorienting visuals.
