Marvel’s latest addition to its Sony Pictures Universe of Marvel characters, Madame Web, hits theatres this week, giving us a taste of what the next stage of Spider-Man will look like. Like many comic fans, I have faced the issue of superhero fatigue, so I walked into this movie with tempered expectations. While not as bad as the trailer suggests, Madame Web is a movie that never finds its footing, giving a muddled take on the universe, characters and motivations, but strong performances help ensure it is watchable even if it does not live up to many stronger attempts at the Spider-Man universe.
Centring on Cassandra Webb (Dakota Johnson), a paramedic who gains psychic abilities after a near-death experience, Madame Web attempts to be the jumping-off point for many storylines with mixed results. Johnson does her best with the material given, portraying Webb as a complex and compelling lead. But the script lets her down by failing to fully develop the supporting cast, build a cohesive story or effectively build narrative tension.
Right out of the gate, the film tries to tell the many aspects of the complex narrative surrounding its titular character. Jumping from the 1970s when a soon-to-be mother, Constance, is hunting for an elusive spider in the Peruvian rainforest. Facing a betrayal, she dies, but not before she is bitten by one of the special spiders and gives birth to her daughter, Cassandra. From there, it settles into the origin story, giving us a look at now-adult Cassandra as she works on her intense job and avoids human connections whenever opportunities are given.
This worked as an introduction for me; it gives you a taste of the character and her origins and a sense of the real mystery that goes on beneath the surface. While it is not the most narratively complete backstory, it does enough to let the viewer know why Cassandra is the way she is while setting up the film’s main conflict. The problem is that while these moments may work on their own, they give a sense of how disjointed the film is as a whole. It is not until the rest of the film unfolds that these problems really take hold.
Johnson gives a solid performance as the troubled heroine, capturing the nuances of her personality and emotional journey. Her supporting cast, particularly Sydney Sweeney, Celeste O’Connor and Isabela Merced as her young soon-to-be heroes, also pull their weight. The four of them share an endearing chemistry that becomes the heart of the film, at least when the film gives them time to talk and not to focus on the mystical or have-baked concepts.
Visually, Madame Web doesn’t disappoint despite what could have been a complete trainwreck. The lighting and cinematography create a dark, gritty ambience that fits the tone. CGI is used judiciously to render Madame Web’s psychic visions and supernatural elements. The visual effects, for the most part, look slick and polished, with only a few moments of spotty green screen work. I commend the director for utilizing practical work for Madame Web; it gives the film a more grounded feel and lets it stand against the more cartoony look of many of the more recent Marvel movies.
If you have gotten this far, you may be asking why, with decent performances and visuals, how Madame Web falls short. The main issue lies with the script trying to cram too many plot threads into one movie. It jumps through time periods and juggles multiple origin stories, resulting in a disjointed narrative.
Once the movie starts moving forward and we are introduced to Sweeney, O’Connor and Merced, we get a sense of the film’s main conflict. Ezekiel Sims, the man who betrayed Cassandra’s mother decades before, is now trying to find a way to kill the girls who he believes will kill him eventually.
Confused? Don’t worry. Madame Web does not take the time needed to build tension or explain major plot holes. It is too busy rushing forward to introduce the main cast of characters and get the new Sony universe underway. There may be good ideas at play here, but there is never enough time given to explain major plot threads or clear up major plot holes.
There are some cool and creative sequences when Madame Web taps into psychic visions and alternate timelines. But too often, these end up being confusing rather than intriguing. The exposition also feels clunky at times as characters deliver information dumps to catch the audience up on things that weren’t properly set up. And that is not even going into the characters that are never introduced properly or a villain that, even after thinking about it and reading supplementary material, never seems to have a clear motivation for any of his actions.
The pacing struggles as well, with a rushed first act followed by a draggy second act. Just when it starts gaining momentum, the third act climax gets bogged down in a lengthy exposition about Madame Web’s true origins. It tries to pack too many twists and revelations into the finale, leaving viewers more puzzled than shocked. It is exacerbated further by the fact we, as the audience, know many of the main plot beats, even if the character of Cassandra does not. So when they reveal key ideas in these moments, they fall a bit flat, lacking the impact they were trying to convey.
Tonally, the movie suffers from an identity crisis, oscillating between dark, edgy, and humorous. It never settles confidently into one tone. The action scenes, particularly in the first act, feel more suited to a fast-paced thriller than a dramatic origin story. It’s only when it slows down and focuses on the central relationships in the second act that the movie hits the emotional notes it aims for. Also, while I love Adam Scott, as paramedic partner Ben, his comedic timing and tone are lost, especially when the potential banter is constantly cut short by the need for action or some random CGI sequence.
Flaws aside, I commend Madame Web for trying something different with the superhero genre. Rather than a villain-driven plot, it zeroes in on the heroine’s personal journey. It puts the spotlight on four female leads and their “found family” dynamic. The film’s best and most resonant moments are not the action spectacles but the quiet conversations between Cassandra and her young friends. Even if the main villain and plot points ultimately fall flat, there is enough that makes the movie worth watching..
Madame Web has its high points but also glaring flaws that prevent it from being a slam dunk. Dakota Johnson’s performance and the central relationship dynamics make it worth watching for Marvel fans. It gets credit for daring to experiment with the superhero formula. But an overloaded plot and uneven pacing ultimately tangle up the movie like a spider caught in its own web.
