I saw Doctor Strange in the Multiverse of Madness...

Doctor Strange in the Multiverse of Madness, written by Michael (Rick and Morty) Waldron and directed by Sam (Evil Dead/Spider-man) Raimi, springs off Jon Watts' Spider-man: No Way Home, though this Strange sequel was in the pipeline well before such, its intent squeezed through such swell, Twilight Zone-tripped miniseries as Loki, What If...?, Moon Knight and above all, WandaVision.    

Benedict Cumberbatch resumes his role as the Sorcerer Supreme, who's taken a backseat to Benedict Wong's worthy Wong, but he and his multiple reflections will always be the supreme one to Steve Ditko purists. Here our overriding Stephen Strange knocks upon a barrage of dimensional doors, doing his best to get to where he belongs (wherever that might be) by aligning the universe(s) into a nice, sane stream for all our endless sakes. 

Along the Danny Elfman-orchestrated way, Strange faces Chitwetel Ejiofor's once virtuous Karl Mordo, but is he the story's prime villain as sources have relayed? Is he a villain at all? And what of Elizabeth Olsen's Wanda Maximoff, the Scarlet Witch? We all know she plays a huge part in this adventure. Perhaps her reverie-ridden heart is the key to throwing everything out of whack, but on the other hand, perhaps the key lies within Strange himself, or rather his many selves. That's what our focused Strange must determine.   

With all this comes intrepid teammates and exciting cameos: the aforementioned Benedict Wong as (of course) Wong; Michael Strudbarg as sensitive Strange rival, Doctor Nicodemus West; Xochtil Gomez as eager, one-and-only sidekick, America Chavez (a big-time catalyst with more individualistic power than she knows); Rachel McAdams as reprised (lost-love) beauty, Christine Palmer; and (yep, it does happen, folks) Patrick Stewart as Professor Xavier (X). 

But what of John Krasinski's Captain America? Okay, maybe he's Mister Fantastic instead. Well, some things are better left for surprise, though pre-publicity and budding gossip may have already thwarted that. On the other hand, fans should be quite pleased to know that Bruce Campbell does enter the mayhem, but then why wouldn't he? This is, after all, a Raimi movie.  

For the most part, the story celebrates its consistent, allegorical upheavals, with Strange's alternate-reality offshoots understudying the ups and downs of everyday, exhausting life (that which many of us endure through our nine-to-five shackles, though sans Strange's Salvatore Dali manifestations). If one pays attention (as one must for such a hurlyburly sojourn), Strange's reactions to his predicaments are as important as what's inside the many Lovecraftian portals he finds. Indeed, diligent folks will appreciate our hero's calculated choices, and those who sit on their laurels can still enjoy the metaphysical toil if they dare conjure the gumption. 

Also, that Strange isn't granted unconditional heaps of help (regardless of what he or his reliable compatriots offer, and they do many times over) works to the story's benefit, for his need to hold the proverbial knife acts as an inspiration at a time when any autonomy is frowned upon by the conformist mainstream. Cumberbatch's Strange, therefore, fills Ditko's mold ideally, without any blatant conservative statements required (though we all know they're implied).  

I don't know if Multiverse of Madness lends any more to Marvel's parallel-dimensional novelty than those those chapters that have lead up to it. However (and yet again), Strange's steadfast plunge to get things done is what's most appealing, for it makes him even more significant (more omniscient) than he was in his first, mega-buck outing, not to mention his related Avenger jaunts. For the sake of his progression (and the entirety of Marvel's Phase Four), that means a lot. The Multiverse can't exist without him. 

Now bring on Strange 3 (as well as another Avengers trilogy). Twist them about forevermore! The Multiverse is rich with infinite possibilities; so why not milk them for every dreamy drop they're worth? 

An Alternate Reality: I saw No Way Home...

When I was a kid, I didn't understand why Darrin Stevens asked his wife, Samantha, not to twitch her nose and use witchcraft to solve their conundrums. As I got older (more experienced to the ways of the world), I came to understand Darrin's noble plea: Working to achieve an outcome (i.e. earning it) is much more fulfilling (not to mention bewitching--tee hee) than taking the easy way out, especially when it comes to character building.

This philosophy prevails throughout Peter Parker/Spider-man's lineage. Steve Ditko introduced it in the early '60s, and it continues to pigment Spidey lore, for on every amazing level, Spider-man: No Way Home epitomizes the dignified point.

Some claim that No Way Home is the final chapter in the Tom Holland "home" (work-hard-for-one's-goals) trilogy and that a series of Sinister Six flicks will follow, in addition to Holland stand-alones that might feature Venom, Carnage, the Vulture and Morbius. Who the hell knows? It's the story at hand that counts, and because of its diligent gist (which connects to such current Marvel/Disney Multiverse fare as WandaVision and Loki), it's an extraordinary one that should resonate with all fans who take pride in getting off their duffs. 

In this cinematic fable, director Jon Watts and writers Chris McKenna and Jon Sommers unroll an astounding, Twilight Zone-ish obstacle for Parker, thanks to J.K. Simmons' J. Jonah Jameson exposing Spidey's true identity through some startling Jake Gyllenhaal/Mysterio footage. In desperation, Parker enlists Benedict Cumberbatch's Stephen Strange to fix the situation through a swift spell which only makes matters worse, though this proves a melodramatic blessing, with old and new Spidey personas joining the aforementioned trio: Zendaya as M.J.; Marisa Tomei as Aunt May; Jacob Batalion as Ned Leeds; Tony Revolori as Flash Thompson; Jon Favreau as Happy Hogan; Benedict Wong as Wong; Jamie Foxx as Electro; Alfred Molina as Doc Ock; Willem Dafoe as the Green Goblin; Thomas Haden as the Sandman; and Rhys Ifans as the Lizard. (Now, what of Tobey Maguire and Andrew Garfield, you ask, as well as some of the other reputed icons who were to be in this one? Ah, shucks, do ya really want me to spoil what may or may not be? That would, after all, be taking the easy way out. Dig? All the same, I don't think one will come away too disappointed.)

Even with its anticipated, special appearances, this Multiverse mishmash doesn't cover every speck of every possibility, but it's still fulfilling for all of its clever intent, heaping great danger, exasperation and responsibility upon Holland's shoulders. That means our Avengers-based Spidey must squash a number of "Monkey's Paw" consequences to reverse the mad process (a motif that Wonder Woman 1984 also asserts), weaving his way in and out of the messes that follow, thus creating an edge-of-the-seat, lesson-based maelstrom, sprinkled with sweet, sensible sacrifice and whenever required, more than a little help from his industrious friends.  

The script's underbelly is, therefore, pure Ditko (and in the best possible Parker/Strange classic-rooted manner), allowing No Way Home to capture the artist/storyteller's moral compass with awe-inspiring precision. No doubt Ditko is looking down upon this one with great gratitude and no doubt the same can be said of good ol' Stan Lee.  

The bum-ish and spineless won't appreciate this chapter since it goes against their let-me-tap-you-with-my-wee-wand, Potter-fied grain, but for those who understand what makes Parker (as well as Marvel's Multiverse on the whole) swing, this one's a web-slinging godsend and could end up the biggest Spidey blockbuster yet. No Way Home deserves that much. I mean, shoot, it's earned it.