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The collapse was inevitable after such a prolonged and excessive reign of superhero movies, with eight being released each year in the 2010s. While there were some standout moments, the reliance on these films limited the success of other blockbuster genres and forced studios to continuously produce more of the same. Last year, there was a clear rejection of this trend, with several anticipated superhero films underperforming. Now, we are seeing the consequences of this rejection, with the first presentation of the year focusing on what went wrong and how to address it.
Originally created in 2019, officially approved in 2020, produced in 2022, and reportedly undergoing additional filming last year, the concept of Madame Web was initially conceived as a means to expand the Spider-Man universe for Marvel and Sony. This decision was primarily business-driven, rather than creatively motivated, following the unexpected success of both Venom and Into the Spider-Verse in 2018. The character, a clairvoyant elderly woman known for aiding Spider-Man in the comics, has been reimagined as a young paramedic portrayed by Dakota Johnson. However, this film seems to struggle with its identity, attempting to present itself as something it is not. This confusion was evident in the trailer released last year, which quickly gained attention for its uncertain tone, complex plot, and disengaged lead actress. In an effort to adapt to changing trends, the film is now being marketed as a dark suspense thriller, with Johnson asserting that it exists in its own separate universe.
The chaotic situation that has arisen will undoubtedly become an interesting topic for oral history in the future. However, at present, with everyone involved fearing the repercussions and adhering to their contractual obligations to maintain the intended outcome, we are left with a confusing 110-minute film. The awkward beginning, set in 1970s Peru, is our first indication of trouble, poorly directed and poorly written, providing a ridiculous background for our protagonist involving spiders and spider-like creatures. Jumping ahead thirty years, she now works as a paramedic with Ben Parker (Adam Scott), who is known as Peter Parker’s uncle to most, except in this movie where all references to Spider-Man have been removed. After a near-death experience, she discovers she has the ability to briefly see into the future, which helps her save the lives of three teenagers (Sydney Sweeney, Isabela Merced, and Celeste O’Connor) who are being pursued by a madman with ties to her past.
With a script written by four people, including its director, SJ Clarkson, a location that’s mostly Boston doubling up as New York, and a lead who looks like she’d really rather be anywhere else, there is something sickly compelling about how disjointed and thoroughly incompetent Madame Web is, less as so-bad-its-fun Midnight Movie and more studio film-making in the 2020s at its very worst case study. The attempt to reposition it as a “suspense thriller” ultimately does the film more harm than good not just because there are absolutely no suspense or thrills here but also because if we were to take it as something more grounded, with no ties to the heightened superheroics of the world it comes from then we would find it even harder to suspend our disbelief throughout.
The movie lacks any gritty or believable elements. It is as unintelligent and poorly-made as the worst of its genre, with cheap special effects typically seen on network TV, unengaging action scenes, and unfunny and awkward dialogue. The characters struggle to stay afloat amidst poorly written explanations (although the famous line from the trailer that went viral is unfortunately absent from the actual movie). Furthermore, the film shamelessly pushes product placement to the extreme, with Pepsi and its advertisements appearing at crucial moments in the story, including a final scene involving the iconic Pepsi-Cola sign in Queens and a post-credits scene where the characters enjoy Pepsi.
The trailer hinted at Johnson’s lack of engagement in her role. While she has the potential to shine under the right direction, she falls short in this film and is one of the most mismatched leads for a blockbuster movie. Her performance feels lethargic and is not helped by her co-star Sweeney, who appears in strange schoolgirl attire, and Zosia Mamet, who has a small and odd role. These three actors are too subdued for the fast-paced and flashy nature of this film. The casting choices are just one example of the many puzzling decisions made, including the removal of any references to Spider-Man, which was seemingly done at the last minute. In a subplot, Emma Roberts plays Ben Parker’s pregnant sister, but her baby’s name is never revealed (although it may start with the letter P in one poorly edited scene). The finale rushes through a scene with three teenagers dressed in superhero costumes from the comics, including Spider-Woman. There is even a strange alteration of the iconic line about power and responsibility, as if it was changed by people who were afraid of legal action.
The average movie viewer may find it difficult to understand the purpose of this chaotic production, and may only become interested after reading the convoluted Wikipedia page. While superhero movies are still thriving (as seen by the record-breaking trailer for Deadpool & Wolverine released today), it seems that the era of films like Madame Web is over. These soulless creations, made solely for profit, lack any passion or consideration for the audience.
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Madame Web will be released in theaters on February 14th.
Source: theguardian.com
