Doctor Strange in the Multiverse of Madness, Moon Knight and MCU’s foray into the unknown

If someone were to point out that Avengers: Infinity War has a lower Rotten Tomatoes score than Ant-Man and the Wasp, one would definitely want to double-check if it is in fact true — the former sits at 85% and the latter at 87%. An argument could be made that the Tomatometer is an obsolete logic to critically assess a film or a TV show’s quality — if it is something that can be measured at all. But the fact remains that Ant-Man and the Wasp, a film riddled with plot holes, bland colours, a poorly written antagonist, a weak narrative, and an overindulgence in slapstick comedy, has a better critic’s score than one of the Marvel Cinematic Universe’s (MCU) strongest entries, Avengers: Infinity War — a film that is far greater in terms of scope, storytelling, and spectacle. However, the most interesting aspect is the fact that a vast majority of the MCU films have identical critics scores, regardless of their quality, especially after Phase 2 of the MCU.

The most ardent MCU fans would like to believe that MCU boss Kevin Feige produces only the best films Hollywood has to offer. While these films are certainly entertainers and have been meticulously produced to keep the MCU juggernaut rolling, they are far from being revered for their cinematic excellence, barring a few exceptions of course. Marvel Studios have crafted the perfect formula that has led to over 30 films and TV shows since Robert Downey Jr famously said the words, “I am Iron Man”, all the way back in 2008. The perfect template in other words, with just the right amount of action, comedy, and superheroes that caters to a wider audience across the globe. It is one of the reasons why a good number of MCU productions look and sound identical. It is also why auteurs such as Martin Scorsese, Ridley Scott, James Cameron, Alejandro G. Iñárritu, Ken Loach, and Francis Ford Coppola have been vocally critical of Marvel films. Their concerns are justifiable to an extent as these films have failed to be artistic expressions, or ‘true cinema’, as Scorsese pointed out.

These films have ultimately turned into ‘mass films’ like Indian films featuring Vijay, Prabhas, Mohanlal, Yash, or Salman Khan, and quite surprisingly with similar numbers in terms of fan following. Therefore, these fans do not flock to theatres in the hopes of being awestruck by cinematic splendour. In fact, they purchase tickets solely to be entertained, and Disney delivers entertainment. This, however, undervalues a director or a writer’s influence on a project to a certain extent.

Marvel’s Phase 4, post-Avengers: Endgame, has shown signs that Marvel Studios and Disney are willing to take risks with their new slate of releases. Loki, for instance, was a breath of fresh air in terms of visuals, and they appear to have gone a few steps further with Moon Knight and Doctor Strange in the Multiverse of Madness. Moon Knight in particular gives the impression that it is a self-contained story with minimal references to the larger MCU. Creators Mohamed Diab and Jeremy Slater have enjoyed creative freedom on par with the former Netflix/Marvel shows such as Daredevil, Jessica Jones, and The Punisher (which are currently distributed by Disney). Moon Knight is visually distinctive, with a tight screenplay, and stunning performances by its lead actors Oscar Issac, Ethan Hawke, and May Calamawy. And it certainly is not meant for a wider audience.

Sam Raimi’s Doctor Strange in the Multiverse of Madness is certainly not self-contained, nor can it be classified as an auteur-driven cinema, but Raimi has most certainly left his mark on the film. The relatively dull colour tones, often seen in MCU films, have been replaced by vibrant visuals, and the film is closer to horror than action-comedy. This has obviously irked a section of the MCU fans on social media and even a few critics, who have raised issues with the darker tone in the film. It is safe to acknowledge that Moon Knight and Doctor Strange in the Multiverse of Madness, are not conventional MCU productions, and both have excelled because of it. Benedict Cumberbatch and Elisabeth Olsen have delivered excellent performances, and it is the icing on the cake for Raimi’s return to superhero films since the original Spider-Man films starring Tobey Maguire.

Chloé Zhao attempted something as ambitious as Eternals but ultimately failed, partly because the narrative itself failed to be engaging, which is something neither of the aforementioned titles suffers from. Both Moon Knight and Doctor Strange in the Multiverse of Madness, or even Loki and the animated series What if…? pushed the boundaries of the MCU formula. While this does come with the added baggage of criticism from certain sections of fans and critics, it certainly is a step forward in an era where pluralistic content is dwindling in numbers, especially when acclaimed films such as Everything Everywhere All at Once, The Unbearable Weight of Massive Talent, and The Northmen do not even have release windows in several countries, including India.

It remains to be seen if Kevin Feige will afford his directors complete creative moving forward, now that Fantastic Four, X-Men, and Deadpool will soon feature in the MCU.