Doctor Strange in the Multiverse of Madness: Or, A Brief History of the MCU’s Four Phases
Doctor Strange in the Multiverse of Madness (2022)
Directed by Sam Raimi
Starring Benedict Cumberbatch, Elizabeth Olsen & Chiwetel Ejiofor
One of the aspects I truly appreciate about Marvel Studios and its leader, Kevin Feige, is their willingness to allow directors – and dare I say, ‘auteurs’ – to shine through amidst the intricate continuity and meticulous planning that define the Marvel Cinematic Universe (MCU), now in its fourth phase. These talented filmmakers are given the freedom to express their unique vision while still contributing to the overarching universe. While the prevailing narrative suggests that ‘the reins have been loosened’ only recently, there have been numerous instances of this artistic freedom across each phase.
Phase 1 of the Marvel Cinematic Universe (MCU) marked the beginning of an ambitious journey. Let’s delve into some of the directors who shaped this pivotal phase.
- Jon Favreau: As the director of Iron Man and its sequel Iron Man 2, Favreau infused the films with his trademark humor and sense of wonder. His previous work on movies like Elf (2003) and Zathura (2005) contributed to the MCU’s initial charm.
- Kenneth Branagh: Known for his Shakespearean sensibilities, Branagh helmed Thor, bringing regal grandeur and mythic elements to the God of Thunder’s origin story.
- Joe Johnston: Drawing from the pulp goodness of his film The Rocketeer (1991), Johnston directed Captain America: The First Avenger. His vision captured the essence of a bygone era and laid the foundation for the patriotic Avenger.
Marvel Studios’ approach during this initial phase was distinct. They entrusted a diverse range of capable directors to establish their shared universe. In contrast, DC relied heavily on the singular vision of Zack Snyder, fresh from the success of well-made comic book adaptations like 300 and Watchmen. The result? Marvel’s humble beginnings flourished, while the WB juggernaut faced challenges in its quest for cohesion.
In Phase 2 of the MCU, Marvel took a bold leap by entrusting their first bona fide auteur with the helm of their inaugural Phase 2 film, Iron Man 3. Shane Black, who has consistently written every film he’s directed, seamlessly matched the comedic tone established by Jon Favreau in the first two Iron Man films.
The second Captain America film was handed to a young directing duo best known for their work on comedic television shows like Arrested Development and Community. The question loomed: Could these up-and-coming directors successfully transition to the action-packed world of superheroes? We’ll explore that in the following paragraphs.
James Gunn, much like Shane Black, is both a writer and director. He was entrusted with the Guardians of the Galaxy franchise—a relatively unknown property for most moviegoers. Gunn’s quirky humor resonated with audiences, leading to the film’s bona fide success. Interestingly, Gunn faced a temporary firing but ultimately returned to the franchise.
In an effort to diversify their ever-expanding cinematic universe, Marvel tapped Peyton Reed, a director known for his comedic sensibilities, to helm Ant-Man, starring the equally comedic Paul Rudd. However, not all choices were home runs. The second Thor film, directed by Alan Taylor (renowned for his work on prestigious television series like The Sopranos, Deadwood, and Game of Thrones), is often considered the “worst” entry in the Marvel Cinematic Universe. Despite the occasional misstep, Kevin Feige’s decision to allow these directors creative freedom paid off both artistically and financially.
Phase Three marked a significant strengthening of existing talent while simultaneously offering opportunities to emerging filmmakers, resulting in outstanding achievements. The Russo brothers made a triumphant return to direct Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame. These films demonstrated that comic book movies could rival the excitement of their original source material, setting the stage for ambitious crossovers and character conflicts throughout the cinematic universe. Scott Derrickson, a rising star in the horror genre, was chosen to direct Doctor Strange, while Jon Watts, primarily known for his work on music videos, took the helm of the Spider-Man franchise. Taika Waititi, a New Zealand auteur, successfully revitalized the Thor series with Thor: Ragnarok, a film that was not only a financial hit but also showcased the audience’s appreciation for studios taking risks on young auteurs with distinctive styles. Similarly, Ryan Coogler, the visionary behind Fruitvale Station (2013) and Creed (2015), brought a new depth to “Black Panther” by intertwining social commentary and grandeur with a relatable antagonist. This approach not only shattered box office records but also engaged a new fan base, making them feel included in the broader narrative.
The first three films of the Fourth Phase of the Marvel Cinematic Universe seamlessly continued the momentum from Phase 3. Under Kevin Feige’s leadership, the studio remained committed to empowering young directors to bring a fresh perspective to Marvel’s characters and overarching narrative. Cate Shortland contributed a family-oriented action and spy adventure with Black Widow. This was followed by Destin Daniel Cretton’s captivating journey in Shang-Chi and the Legend of the Ten Rings and Chloé Zhao’s introspective Eternals. Each film, reflective of the directors’ unique vision and style, showcases the distinctive storytelling abilities of these filmmakers. While DC faced criticism for succumbing to fan and bot outrage, Marvel steadfastly supported the creative direction of these minority directors. Spider-Man: No Way Home, under the skillful direction of Jon Watts, who transitioned from music videos to blockbuster cinema, offered a much-needed respite from Covid-19 fatigue, cementing its place as one of the most cherished trilogies in superhero cinema.
What came next? Well, the subject of this review initially centered around Doctor Strange in the Multiverse of Madness. Once again, Kevin Feige entrusted the reins to an auteur, but this time not a young filmmaker—instead, a genre legend with an impressive resume. Sam Raimi, known for iconic works like The Evil Dead franchise, the original Spider-Man trilogy, and my personal favorite horror film, Drag Me To Hell (2009), took the helm. With carte blanche, Raimi embarked on an absolutely bonkers storytelling journey to kick off a multiverse saga for the ages.
Some argue it isn’t “enough Raimi,” while others claim it’s “too much Raimi.” Regardless, the film delivers a 126-minute feast for the eyes and senses. Notably, it features one of the best representations of a female character in the superhero genre—played to perfection by Elizabeth Olsen. And of course, Benedict Cumberbatch shines as Doctor Strange. The ensemble cast, including beloved mystery characters, had my opening night crowd erupting with excitement. Marvel’s trust in Raimi paid off, invigorating an audience that had grown jaded and critical. For me, it was a chance to witness a Sam Raimi film, experience a continuation of the Marvel Cinematic Universe (MCEU), and see the characters I grew up reading come alive on the silver screen.
Grade: If the MCEU films have ranged from C’s to A’s, this latest installment comfortably earns a solid B+.