Madame Web

Madame Web‘s contribution to cinema is that it offers yet another opportunity for a famous actor to play a superhero. This time, it’s Dakota Johnson. She’s an appealing actress who has contributed significantly to a host of films: The Lost Daughter, The High Note, Our Friend, The Peanut Butter Falcon, and Suspiria, among others. She brings a delightfully sarcastic and frequently skeptical personality to this picture. Unfortunately, this is where the compliments end.

Cassie Webb (Dakota Johnson) is a paramedic who has undergone a transformative experience. Her life takes an extraordinary turn when she discovers a latent ability to see the future after a near-death experience. Unraveling the mysteries of her past, our protagonist learns her scientist mother (Kerry Bishé) met her untimely passing during childbirth while in the Amazon jungle back in 1973. However, a mythical spider bite saved Cassie’s life.

Cassie’s journey of self-discovery coincides with the looming threat posed by a rogue explorer turned-businessman named Ezekiel Sims (Tahar Rahim). This backstabbing traitor accompanied her mother into the jungle so he could steal the magical spider. Nightmares of his demise at the hands of three teens (Sydney Sweeney, Isabela Merced, Celeste O’Connor) currently torment him in the present day. He is now out to destroy them. Cassie’s clairvoyant powers could save the lives of these vulnerable girls. She reluctantly assumes the mantle of a hero. Cassie embarks on a mission fueled by newfound purpose.

Regrettably, this movie furthers the ongoing cries of superhero fatigue. Madam Web could have given us something unique by featuring a female crusader with a bizarre past. The themes of maternal duty and accountability within the framework of a traditional tale are suggested. I had hoped the screenplay would delve into these ideas and deviate from the norm. Sadly, the script fails to deliver on that promise. The plot is just a sloppy origin story of derivative elements. In particular, the motivation for a supremely boring villain is not explained. Ezekiel Sims exists because these movies need an antagonist. The narrative is further undone by poor editing. The portrayal of Cassie’s visions is confusing. Abrupt shots of alternate realities blur the lines between present events and future occurrences. This production simply fulfills an obligation for an additional entry in Sony’s strange Spider-Man universe of Venom and Morbius, which doesn’t actually include Spider-Man.

It is regrettable to see a 2024 production with potential adhere so closely to conventional tropes. Director S. J. Clarkson makes her directorial debut following a long list of TV credits. The screenplay she co-wrote with Claire Parker and the Morbius writing team of Matt Sazama and Burk Sharpless is a giant step backward for the genre. Sazama and Sharpless are also responsible for writing a list of duds that include Dracula Untold, Gods of Egypt, and Power Rangers, so I shouldn’t be too surprised.

Whenever I’m about to watch a creative work that has gotten universally negative reviews, I hope to find something redeeming so I can separate my opinion from the masses tearing apart the same picture. Alas, the overwhelming contempt surrounding Madame Web is justified. I couldn’t wait for it to be over. Apologies, but I felt trapped in a tangled web of stupidity.

02-15-24