Regarded whispers imply that S.J. Clarkson's overtly lackluster "Madame Web" originally unfolded in the 1990s until the entire narrative underwent a temporal shift to the early 21st century during reshoots (reportedly, a final attempt to better synchronize Sony's recent Spider-Man spin-off with MCU lore), and while this gossip might appear to satirize the imaginative bankruptcy that propelled superhero cinema from "No Way Home" to "No One Cares" in under two years, personally observing Clarkson's inert web of an origin tale left me with numerous unresolved queries.
On one side, the selection of Clinton-era classics on the soundtrack (e.g., "Dreams," "Bitch," "What's Up?") unmistakably resonates as abandoned cues from a previous edit. Conversely, a colossal advertisement for Beyoncé's 2003 album is conspicuously doctored into the background of a shot devoid of any other significance, and Dakota Johnson delivers an ADR line about her rush to get home for 'Idol,' adding further ambiguity. Some enigmas in our realm transcend mortal comprehension.
However, if the crux of the matter revolves around a handful of tunes and a forced allusion to a popular TV series, the temporal setting of "Madame Web" becomes inconsequential — whether it was predetermined or altered. Acknowledging the sheer randomness of this film's aesthetic reveals a deeper verity: Even if "Madame Web" had been set in the 1990s, its essence would still exude a 2003 vibe.
An innocuous, almost charmingly feeble attempt at a film, "Madame Web" unluckily debuts at a juncture when the superhero genre is regressing to pre-MCU levels of prominence. This debacle, akin to "Daredevil," is laughably retrogressive for a narrative about an individual discovering the ability to glimpse into the future for a few moments (adding a touch of irony for a project hastily rushed into production when spider-themed studio flicks still seemed like guaranteed successes). Yet, "Daredevil" possessed intentional silliness. From its lack of narrative stakes and stylistic flair to its laughable special effects and palpable unease with the genre's conventions, "Madame Web" feels crafted by and for individuals unacquainted with contemporary superhero cinema. Theoretically, this might have been advantageous, but in practice, only Johnson manages to convey such sentiment.
The genesis traces back to Cassandra Webb's mother (portrayed by Kerry Bishé), who perished in the Amazon while researching arachnids. She met her demise at the hands of Ezekiel Sims (Tahar Rahim, transitioning astutely from "A Prophet" to a profit-seeker in a role that will likely fade into obscurity), a man on a quest for a mysterious spider whose venom bestows extraordinary abilities. The rationale behind a spider evolving to empower its prey remains elusive, a detail "Madame Web" disregards. Ezekiel's actions are pivotal; hired to protect the pregnant woman, he instead murders her, oblivious to an indigenous tribe — represented by a sole individual — utilizing the spider's magic to save baby Cassandra from stillbirth.
Fast forward to Queens circa 2003, where Cassie (portrayed by Johnson) serves as a paramedic alongside her friend Ben (an uncredited Adam Scott). A product of NYC's foster system, Cassie describes herself as a "stray," displaying a natural aptitude for saving lives but little inclination to be involved with them. As observed during the film's press circuit, Johnson adeptly transforms social discomfort into dry humor, breathing life into "Madame Web" whenever permitted to revel in her ambivalence towards it.
Almost every superhero's origin tale includes moments where the incredulous hero grapples with newfound powers and responsibilities. However, few actors derive as much enjoyment from this as Johnson. Without divulging spoilers, Johnson rescues one of the film's weakest scenes with a morbidly humorous quip, eliciting laughter from an otherwise lethargic audience.
Yet, Johnson's mockery of superhero tropes yields to the inevitable as "Madame Web" progresses. Once Cassie awakens to her abilities, the narrative loses its edge. Plagued by visions of the future, Cassie finds herself on a Metro-North train where Ezekiel plans to murder three teenage girls. How he locates them involves a hacker, played by the miscast Zosia Mamet, who emits an aura of bewilderment before fading into obscurity. The convergence of these girls and Cassie seems arbitrary, leading to an anticlimactic chase scene and a lackluster finale punctuated by odd product placement.
The conclusion feels disjointed, oscillating between CGI specters and grounded realism. This incongruity undermines the emotional bond formed between Cassie and her youthful comrades. Johnson's talent shines through, elevating moments beyond the film's limitations, yet also highlighting its flaws.
In summary, "Madame Web" may have been tampered with by studio intervention, resulting in a muddled narrative lacking coherence. Johnson's sincerity clashes with the film's shortcomings, exemplifying the struggle of singular artists promoting flawed projects. The line "He was in the Amazon with my mom when she was researching spiders just before she died," epitomizes the film's uneasy blend of promotion and creative bankruptcy. Cassie's role as a harbinger of change feels moot in a film devoid of a future, a sentiment emphasized by its backward gaze to a time when the genre lacked direction.
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