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: A Scarlet Witch/Vision Sitcom/Springboard

Elizabeth Olsen and Paul Bettany star in a six-episode television series that takes the Scarlet Witch/Wanda Maximoff and the Vision relationship to a number of alternate-reality levels (and indeed after the Vision's apparent, big-screen demise). 

The series, entitled WandaVision is also based on the X-Men, spinoff submission, House of M, while acting as a dreamy and unorthodox springboard for Doctor Strange in the Multiverse of Madness, Thor: Love and Thunder, Loki: the Series, Fantastic 4 (2021/2); Captain Marvel 2 and the live-action Spider-verse.

WandaVision's springboarding levels (or rather zapping interludes) are sit-com based (with the likes of I Love Lucy, Bewitched, I Dream of Jeannie, My Favorite Martian and My Living Doll {among no doubt others} incorporated), which makes this new, Disney product a quirky turn within the Marvel/Avengers, live-action franchise, which beyond Guardians of the Galaxy and some Tony Stark jesting has played it predominately straight. (Okay, let's throw in Hulk's slamming of Loki in Avengers 1, as well. That was an uninhibited hoot and a half.) 

The show's concept also holds an obvious Twilight Zone influence. ("What's in the Box" and the Zone-ish Pleasantville come to mind.) However, at this point, the clear, culminating cause behind WandaVision is at best speculative. (Will it stay carefree or spawn a deep, ironic message?) No matter the outcome, what I've seen so far looks real warm yet trippy. (That the trailers feature the Platters' "Twilight Time" and the Monkees' "Daydream Believer" only strengthens the effect.)

Whether WandaVision's surreal spin is a hit with fans and erects a practical ramp for Marvel: Phase 4 (or falls to the unfortunate wayside like NBC/DC's Powerless) should be determined soon enough. The multiverse experiment premieres on Disney+ this Jan 15th: a mere, parallel hop, skip and jump away. 

HAPPY EARTH DAY 2018!!!

I saw Ultron come of age...

Joss Whedon's new Avengers adventure, "Age of Ultron", has arrived, and our favorites are back: Captain America/Steve Rogers (Chris Evans); Iron Man/Tony Stark (Robert Downey, Jr); Hulk/Bruce Banner (Mark Ruffalo); Thor (Chris Hemsworth); War Machine/James Rhodes (Don Cheadle); Hawkeye/Clint Barton (Jeremy Renner); Black Widow/Natasha Romanoff (Scarlett Johansson); the Falcon/Sam Wilson (Anthony Mackie)...and a special appearance by SHIELD's fatherly force, Nick Fury (Samuel Jackson). 

New to the mix is Quicksilver/Pietro Maximoff (Aaron "Kick-Ass" Taylor-Johnson), though not to be confused with Evan Peter's hero in "Days of Future Past"; the Scarlet Witch/Wanda Maximoff (Elizabeth Olsen) and the majestic android, the Vision (Paul Bettany, who also voices Stark's digital butler, JARVIS). 

The computer angle is big in this sequel, with a robot army on the loose, led by the power-hungry Ultron (voiced by James Spader). However, the concept of fickle technology isn't new in science-fiction/fantasy fables. We've seen it depicted in "Terminator", "2001: a Space Odyssey, and "Colossus: the Forbin Project". As far as acrobatic robots dominating the landscape goes, we've seen that, too, thanks to the RoboCop and Transformers sagas, but "Age of Ultron" somehow manages to keep things fresh, despite the recycled trimmings. 

On the flip side, as significant as the mechanical infiltraton is, it never dominates our heroes' presence or their sense of family. Sure, the members possess enough variance to be dysfunctional, but they also subscribe to a common cause: keep Earth safe.

As seized from Hydra's Baron Wolfgang von Strucker (Thomas Kretschmann), the technology involved is culled from Loki's scepter: its harbored "artificial intelligence" deemed worthy of implantation in Stark's defense project, designed (ironically) to protect us from villainous penetration.

Ultron, a creation fashioned as a learner/watcher of sorts within the expansive program, develops an egomaniacal consciousness, which then constructs a body and breaks free to take over the world with a league of his own. He's also quite a sight to behold: a towering cross between Superman's Brainiac and a pumped-up Terminator prototype. 

Stark is, perhaps, the most adversely affected by the robot rebellion, for having activated the computerized Frankensteins, which leads Rogers to push further toward the Avengers forefront. Considering that Ultron and his army are equivalents to Nazis, Commies, and any other variety of on-and-off-again evil-doers, Cap's prominent presence feels right. After all, this is a war-time mission, and through his cordial relationship with Agent Maria Hill (Cobie Smulders), he increases the Avengers' chance for victory with his stalwart perspective. 

With this established, the movie advocates that we, as cognitive, freedom-loving creatures, have full right to combat and destroy such cold, calculating monsters. To fight is essential and all-out war (particularly under the film's harrowing circumstances) a non-debatable necessity. 

All the same, this staunch angle will likely unsettle negotiation advocates, but as the turmoil mounts under Whedon's emotional script and tense direction, "Age of Ultron" can't help but inspire one's righteous angst: the need to shout out a hardy "action not appeasement". Its message, though seemingly simple, should prove profound for anyone with any sort of practical, moral conviction. 

Philosophy aside,the movie is jammed with vivacious action sequences. The prelude is one of the best rendered (and that's saying a lot considering how sleek the Bond intros have been), and the battle between a confused Hulk and Stark's Hulk Buster is a grand feast in it own right, guaranteed to rattle one's senses with rumbles and roars, heightening the adventure to near Wagnerian proportions. 

I can't yet say that "Age of Ultron" surpasses the original "Avengers", which had the charming novelty of bringing the gang together, and it's certainly nowhere near as politically intricate as "Winter Soldier". It does, however, soar consistently high, never losing its momentum even when it dares to spotlight the relationships between Hawkeye and his wife, or the burgeoning one between Widow and Banner/Hulk. (The latter scenarios surely could have derailed the film, as had the superfluous romance in "Amazing Spider-man 2".)

Regardless of what the future holds for the Avengers, this current chapter does an admirable job of nurturing the traditional comic-book format. That should certainly please purists. The movie is also a terrific way to start the spring/summer blockbuster season, delivering thrills, chills and above all, a sense of wonderment. So, don't delay; jump on board and join the fun!!!