«Madame Web» - Movie Review by Kinoafisha
Dakota Johnson and the Intricate Web of the Plot in 'Madam Web'.
In the comic books, Madam Web is portrayed as a paralyzed, blind old woman who aids Peter Parker with her ability to predict the future. The film takes a fresh approach to this concept by introducing Cassandra Webb as the central character, a young paramedic navigating the streets in her service vehicle and forming exclusive connections with her cat and colleague Ben – who is soon to become an uncle.
The on-screen chemistry between Dakota Johnson and Adam Scott is almost palpable. Johnson's character, characterized by sarcasm, introversion, and a hint of sociophobia, is complemented by Scott's light-hearted and amiable demeanor. Together, they craft an excellent blend of contrasts, deserving a spin-off dedicated to their workaday adventures. The sitcom potential of this duo is evident and accentuated by the cinematography, drawing inspiration from "The Office" with the consistent use of sharp zooms – a technique that, though initially dismissed, resurfaces in the latter half of the film. Coupled with rough edits and unnecessary Dutch angles, it becomes a poignant anti-example for any filmography course.
The absurdly portrayed but intriguing escapades of the paramedics take a back seat when the film reverts to its superhero narrative. Cassandra's pregnant mother's research on unique spiders in Peru comes back to haunt the protagonist thirty years later, leading to her acquisition of abilities to see the future. However, the depiction of her newfound powers and the final battle lacks interest, resembling more of video game cutscenes than a profound character development.
Cassandra's discovered gift promptly introduces her to a man in a spider suit who shares her ability to foresee futures, each vision depicting three unfamiliar young girls attempting to kill him. While the antagonist's motivation to prevent his demise is logical, his character and initial drive remain obscured behind the scenes. His character is reduced to crawling on ceilings and pursuing high school girls.
Like an irritated nanny, Johnson's character also chases after the girls, attempting to protect them, grumbling and interrupting their dances on tables to Britney Spears' tunes. This behavior sets her apart from most Marvel superhero films, as Johnson brings a unique touch, treating everything with a smirk and fatigue from constantly explaining powers she doesn't entirely comprehend. The ensemble of characters could have birthed a vibrant female-centric film akin to "Birds of Prey," but the scriptwriters fall short in developing Johnson's proteges beyond teenage caricatures.
The most ludicrous of the trio is Sidney Sweeney's character. Despite being 26 years old, she is dressed in a schoolgirl's mini-skirt and awkwardly adjusts her glasses, as if auditioning for an adult film. This discomfort is exacerbated by Sweeney's simultaneous appearance in "Anyone But You," where she spends a lion's share of the film in a bikini, seducing a muscular Glen Powell. While her spider colleagues age more organically, they don't transcend beyond a couple of clichéd lines. Talented actresses like Emma Roberts and Zosia Mamet make brief appearances, unable to salvage the convoluted web of a poor screenplay.
At times, it is more entertaining to follow the Pepsi product placement than the characters' dialogue. A scene featuring Cassandra struggling to open a branded soda can leans into the crisis faced by the genre, with producers seemingly more eager to earn money through advertisements if not ticket sales. However, even this concession doesn't rescue the film, especially considering the recent trailer for "Deadpool & Wolverine" breaking viewing records. It appears the mass audience hasn't cooled off towards superhero films, as previously thought. "Madam Web" decided against investing effort in a robust plot and impressive graphics.
Yet, amidst the film's shortcomings, a hidden charm emanates. Unfolding in the early 2000s, it captures the essence of that era, existing somewhere between "Catwoman" and "Fantastic Four," before the birth of "Iron Man" revolutionized the genre. A foolish indulgence utilizing clichéd phrases not yet exhausted during that time. The creators abstain from exploiting the nostalgic comicality of their creation, continuing to parasitize on the contemporary franchise era. "Madam Web" turns out to be nothing more than a two-hour prologue to the actual plot of the film. A film for which no one seems willing to invest money anymore, and to witness this future, one need not endure a spider bite.
