“Madame Web,” released on February 14, 2024, marks another attempt by Sony to expand its Spider-Man Universe (SPUMC), this time focusing on a lesser-known character from the Marvel Comics lore. The film has quickly become a point of contention among fans and critics alike, dividing opinions on whether it adds value to the Spider-Man mythos or further dilutes it. With a nostalgic nod to early 2000s superhero cinema, “Madame Web” tries to blend old-school charm with modern superhero expectations, but the result is a mixed bag that struggles to find its identity.
A Nostalgic Return to the Early 2000s
The setting of “Madame Web” in 2003 is more than just a backdrop; it’s a deliberate choice to evoke the feel of superhero films from that era. The early 2000s were a time when superhero movies were finding their footing, and the genre was characterized by a certain level of simplicity—both in storytelling and visual effects. Films like Sam Raimi’s “Spider-Man” (2002) and Mark Steven Johnson’s “Daredevil” (2003) set the tone for what audiences could expect from comic book adaptations. “Madame Web” clearly aims to channel that same energy, using a muted color palette and restrained special effects that hark back to a time before the explosion of CGI-heavy blockbusters.
However, this nostalgic approach is a double-edged sword. On one hand, it successfully taps into the sentimental value that many fans of the genre hold for those earlier films. On the other hand, it inherits some of the flaws that plagued those movies—chief among them being a lack of depth in storytelling. The simplicity that was once charming now feels outdated in a landscape where audiences expect more complex narratives and character development from their superhero films.
Cassandra Webb: A Character in Search of Depth
At the heart of “Madame Web” is Cassandra Webb, played by Dakota Johnson. In the comics, Madame Web is an older, blind woman with psychic abilities, often depicted as a mentor figure within the Spider-Man universe. The decision to reimagine her as a younger, sighted woman with a backstory rooted in tragedy is an interesting one, but it also poses significant challenges. The character of Cassandra Webb in the film is a departure from her comic book counterpart, and while this could have been an opportunity to explore new dimensions of the character, the execution falls short.
Cassandra’s journey begins with her as a paramedic in New York City, a loner with a mysterious past. The film attempts to build her character through her reluctance to engage with others, painting her as an aloof figure who is dragged to social events by her friends. While Dakota Johnson does her best with the material she’s given, the character never fully comes to life. There’s a sense that the screenplay, penned by Matt Sazama and Burk Sharpless, doesn’t quite know what to do with her. The script hints at a deeper psychological struggle, but it never fully explores these themes, leaving Cassandra feeling more like a plot device than a fully realized character.
One of the key aspects of Cassandra’s character is her evolving relationship with the three teenagers she is tasked with protecting: Anya Corazon, Julia Cornwall, and Mattie Franklin. This “found family” dynamic is a well-worn trope in superhero films, but it’s one that can be incredibly effective when done right. Unfortunately, in “Madame Web,” the bond between Cassandra and the girls feels rushed and underdeveloped. The script does little to build the emotional connections necessary to make their eventual unity feel earned, and as a result, the “chosen family” theme, which could have been the film’s emotional core, falls flat.
Supporting Characters: Missed Opportunities
The supporting cast of “Madame Web” features some notable names, including Isabela Merced, Sydney Sweeney, Celeste O’Connor, and Adam Scott. Each of these actors brings their own strengths to the film, but they are hampered by a script that fails to give them enough to do.
Isabela Merced’s portrayal of Anya Corazon is a highlight, largely due to the character’s backstory in the Spider-Man comics. Anya, also known as Araña, is a character with a rich history and a strong connection to the broader Spider-Man universe. In the film, Merced does her best to bring depth to the role, but the screenplay doesn’t provide her with enough material to fully explore the character’s potential. Anya’s relationship with Cassandra is particularly undercooked, and what could have been a compelling mentor-student dynamic is reduced to a few brief interactions that lack emotional weight.
Sydney Sweeney and Celeste O’Connor, as Julia Cornwall and Mattie Franklin respectively, suffer from similar issues. Both characters are introduced with minimal backstory, and their personalities are defined more by clichés than by any real development. Julia is the “good girl,” and Mattie is the “rebel,” but beyond these surface-level traits, there’s little to distinguish them. The film hints at their abandonment issues as a common thread that could bring them closer to Cassandra, but this theme is never fully explored. As a result, their eventual bond with Cassandra feels unearned and hollow.
Adam Scott’s Ben Parker is another missed opportunity. In the Spider-Man universe, Ben Parker is an iconic figure, often depicted as a moral compass and a source of inspiration for Peter Parker. In “Madame Web,” however, Ben is reduced to a side character with little impact on the plot. Scott’s deadpan humor and natural charm make him a scene-stealer whenever he’s on screen, but the character’s potential is wasted in a role that feels more like comic relief than anything else.
Ezekiel Sims: A Villain Lacking Menace
A superhero film is often only as good as its villain, and unfortunately, “Madame Web” falls short in this regard as well. Ezekiel Sims, portrayed by Tahar Rahim, is a character with a rich history in the comics, but the film fails to capitalize on this. In the source material, Ezekiel is a complex character with motivations that stem from a deep understanding of the Spider-Totem lore. In the film, however, he is reduced to a one-dimensional antagonist whose motivations are unclear and whose actions are driven more by plot convenience than by any real character development.
Ezekiel’s powers mirror those of Cassandra, which could have made for an interesting dynamic, but instead, it leads to repetitive and uninspired action sequences. The film’s direction by S.J. Clarkson does little to elevate these scenes, with erratic camera work and confusing editing choices that detract from the tension. The villain’s dialogue is poorly mixed, with voiceover work that doesn’t match his on-screen presence, further diminishing his impact.
The character’s backstory is also mishandled. Rather than delving into the rich mythology that surrounds Ezekiel in the comics, the film opts for a simplistic and underwhelming origin that does little to make him a compelling adversary. His obsession with preventing his own death at the hands of the three teenagers feels contrived, and the film never provides a satisfying explanation for why he doesn’t attempt to resolve the conflict through dialogue rather than violence.
Direction and Cinematography: A Missed Vision
S.J. Clarkson’s direction is another area where “Madame Web” struggles to find its footing. Clarkson, known for her work on television series like “Ugly Betty” and the shelved “Game of Thrones” pilot, brings a television-like sensibility to the film, which doesn’t translate well to the big screen. The film’s pacing is uneven, with scenes that drag on too long and others that feel rushed. The action sequences, which should be the film’s highlight, are marred by disorienting camera movements and jarring editing that make it difficult to follow the action.
The cinematography, too, is a mixed bag. While the film’s muted color palette successfully evokes the early 2000s aesthetic it’s aiming for, it also makes the film look dull and lifeless. There are moments where the film tries to inject some visual flair—such as during Cassandra’s visions—but these are few and far between. The overall visual style of the film feels uninspired, and there’s little that stands out in terms of memorable imagery or creative direction.
Themes and Missed Potential
“Madame Web” touches on several themes that could have made for a compelling narrative, but it never fully commits to exploring them. The idea of a “found family” is central to the film, as Cassandra reluctantly takes on the role of protector for the three teenagers. This theme has been a staple of superhero films, from the X-Men series to the Guardians of the Galaxy, and it can be a powerful way to explore the bonds that form between characters who might not otherwise have come together. However, in “Madame Web,” the theme feels underdeveloped. The relationships between the characters are not given enough time to grow organically, and as a result, their eventual unity feels forced.
Another theme that the film hints at but doesn’t fully explore is the idea of legacy and the passing of the torch. Cassandra Webb is a character who has traditionally been portrayed as a mentor figure, and the film could have used this opportunity to explore what it means to take on that role at a younger age. However, the script doesn’t delve into this, leaving Cassandra’s character arc feeling incomplete.
The film also attempts to grapple with the idea of destiny versus free will, as Ezekiel tries to prevent a future that he believes is inevitable. This could have been an intriguing philosophical dilemma, but the film’s muddled execution leaves it feeling more like a plot device than a meaningful exploration of a deeper theme.
Comparisons with Other Spider-Man Universe Films
When placed alongside other films in Sony’s Spider-Man Universe, “Madame Web” feels like a step backward. Sony’s previous attempts to expand the universe, such as “Venom” (2018) and “Morbius” (2022), have met with mixed success. While “Venom” managed to carve out its own niche with a blend of dark humor and action, “Morbius” was widely panned for its incoherent plot and lackluster execution. “Madame Web” falls somewhere in between, failing to capture the unique tone of “Venom” while avoiding the outright disaster of “Morbius.” However, it does little to advance the overall narrative of the Spider-Man Universe, feeling more like a side story than an essential chapter.
One of the key differences between “Madame Web” and other entries in the Spider-Man Universe is its tone. While “Venom” embraced a more irreverent and chaotic style, “Madame Web” opts for a more somber and introspective approach. This could have worked in its favor, providing a contrast to the more bombastic entries in the franchise, but the film’s lack of a clear vision ultimately undermines this effort.
Audience Reception and Future Implications
The reception of “Madame Web” has been polarizing, with some viewers appreciating its attempt to do something different within the superhero genre, while others criticize it for being a missed opportunity. Fans of the Spider-Man comics might find some enjoyment in seeing lesser-known characters brought to the screen, but casual viewers are likely to be left scratching their heads at the film’s disjointed storytelling and underdeveloped characters.
The mixed reception of “Madame Web” raises questions about the future of Sony’s Spider-Man Universe. With several other projects in development, including sequels to “Venom” and potential spin-offs, the success or failure of “Madame Web” could have significant implications for how Sony approaches these films. If “Madame Web” fails to resonate with audiences, it could signal a need for a course correction in the franchise, possibly prompting Sony to reevaluate its strategy for expanding the Spider-Man universe.
Conclusion: A Film in Search of Identity
In conclusion, “Madame Web” is a film that struggles to find its identity. It attempts to pay homage to the superhero films of the early 2000s while also trying to carve out its own niche within the crowded landscape of modern superhero cinema. However, its nostalgic approach is undermined by weak storytelling, underdeveloped characters, and a lack of clear direction. While there are moments of potential—particularly in Dakota Johnson’s performance and the film’s exploration of the found family trope—these are overshadowed by the film’s many shortcomings.
For fans of the Spider-Man Universe, “Madame Web” might offer some fleeting moments of enjoyment, but it ultimately fails to leave a lasting impact. As Sony continues to expand its Spider-Man franchise, “Madame Web” serves as a reminder that a film’s success depends not just on the strength of its source material, but also on the execution of its vision. In the case of “Madame Web,” that vision remains frustratingly out of focus.