A Tangle of Missed Opportunities
Madame Web, the latest instalment in Sony’s Spider-Verse, spins a narrative as tangled as its titular character’s webs. Despite a standout performance from Dakota Johnson as the enigmatic Cassandra Web, the film fails to use any of its potential, ultimately collapsing under the weight of its ambitions. While Sony did come out late in the piece and say this is a standalone movie, not connected to anything, it is evident that this film was trying to set up multiple spin-offs, sequels and prequels for its myriad of characters.
Cassandra Web (Johnson) is an ambulance officer working in New York City. She likes Chinese food, stray cats and Pepsi (more on that later). She is socially awkward with her patients and their families, only keeping a handful of friends close to her. When she starts re-living the same moments over and over, she starts to questions what exactly is going on. Things escalate when she witnesses the murder of three young women on a train and intervenes to save them. Chasing after them is comic book movie generic bad guy Ezekiel Sims (Tahar Rahim), who dreams every night of the three young women killing him and crumbling his fortune. In the future, the three women all get bitten by a Peruvian spider, rumoured to grant superpowers to those who succumb to the bite. Julia (Sydney Sweeney), Anya (Isabela Merced) and Mattie (Celeste O’Connor) are all playing a high school (yes, try to believe it) stereotype. Julia is the She’s All That type bookish nerd, Anya is the smart one and Mattie is the outspoken rebel. They must learn to trust Cassandra as she is discovering how to use and control her powers to save them from Ezekiel.
Johnson shines as Cassandra Web, infusing the character with wit, charm, and a hint of vulnerability. Her impeccable comedic timing adds levity to an otherwise convoluted plot. Unfortunately, her talents are squandered amidst a sea of narrative clutter. She has a perfect knack for making characters socially awkward, which is on display here. A hilarious interaction at a baby shower for Emma Roberts – Mary Parker in the first act showcases how perfectly Johnson is suited for comedy. Regrettably, the same can’t be said for the rest of the cast. Adam Scott and the aforementioned Emma Roberts are only in this fleetingly and are serviceable side characters to book-end the movie. Rahim and the three girls are wasted with schlocky dialogue and awkward moments that don’t land. It’s not a reflection of their talent but rather that of a studio desperate for their own connected comic book universe and a couple of writers who, like the movie’s setting, are stuck in the early 2000 comic book movie world.
The film takes a nosedive when it becomes preoccupied with setting up spin-offs for other Spider-People, including Madame Web herself, hinting at potential sequels and prequels for the villain that feel forced and unnecessary. Instead of focusing on developing Cassandra’s character and storyline, the film becomes bogged down with thinly veiled attempts to expand the Spider-Verse franchise. It was difficult to watch a superhero who can only see the future but has not abilities and three girls who would one day get powers, attempt to fight a fully powered Spider-person, resulting in a lacklustre final act that while visually stunning, is too ridiculous to have any real meaning.
While the idea of exploring different facets of the Spider-Verse is intriguing, Madame Web fails to execute this concept effectively. Instead of enriching the universe, the film’s attempts to shoehorn in additional storylines feel contrived and disjointed.
Ultimately, Madame Web serves as a cautionary tale of over-ambition. Despite Johnson’s standout performance, the film’s misguided attempts to expand the Spider-Verse dilute its potential, resulting in a disappointing cinematic experience. Sony would be wise to heed the lessons of Madame Web and Morbius before it, and refocus their efforts on crafting a cohesive and compelling Spider-Verse centered around its iconic hero, Spider-Man.
Madame Web is in cinemas now.
