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    Movie Review

    Doctor Strange sequel gets lost in the multiverse of madness

    Alex Bentley
    May 4, 2022 | 9:27 am
    Doctor Strange sequel gets lost in the multiverse of madness
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    The powers-that-be of the Marvel Cinematic Universe may not want to admit it, but the COVID-19 pandemic has wreaked havoc with their Phase 4 plans. As laid out in 2019, the new Doctor Strange in the Multiverse of Madness was originally scheduled for May 2021, where it would have come directly after the WandaVision Disney+ series and followed shortly by the Loki series.

    The world had other ideas, of course, and now the Doctor Strange sequel is not only coming well after both of those series initially streamed, but also after Spider-Man: No Way Home, a universally acclaimed film that stole this movie’s thunder when it comes to movies dealing with the multiverse. Doctor Strange (Benedict Cumberbatch) played a big part in that film, where he conjured a spell that literally cracked open the sky, presumably leading to all sorts of multiversal possibilities in this film.

    Except … that’s not exactly what happens. Directed by Sam Raimi (returning to filmmaking after a nine-year absence) and written by Loki creator Michael Waldron, Madness almost seems to pretend as if the events of No Way Home never happened. Instead, it shifts to a different way of accessing the multiverse via a brand-new character, America Chavez (Xochitl Gomez), who has a power to open up portals to different universes, although she is unable to control it.

    Through a semi-complicated situation, Strange is tasked with protecting her, and he seeks out assistance from Wanda Maximoff (Elizabeth Olsen), last seen in her series losing her mind in grief over a lost love and non-existent children. She’s obviously not over it, however, as she has plans of her own for Chavez. The film sets a crash course through multiple different realities, taking the story in a series of increasingly bizarre directions.

    Right from the start, the filmmakers have difficulty setting the tone for the film. The opening scene wrong-foots the audience by throwing us in the middle of an insane sequence with no set-up whatsoever. Things don’t get better from there as Raimi and Waldron appear to be making things up as they go, using clunky dialogue to bring in familiar characters and illogical storytelling to move the story from place to place, with none of it generating any kind of excitement.

    One of the beauties of using the multiverse as a storytelling device is you can create whatever you want, as Spider-Man: Into the Spider-Verse, Spider-Man: No Way Home, and Everything Everywhere All At Once demonstrated beautifully. What those films understood that Madness does not is that you have to pair the off-the-wall creativity with some kind of grounded story to lend at least a semblance of logic to the story.

    What this film offers in its place is a bunch of elements that seem meant to appease the wildest fantasies of Marvel fans and Raimi acolytes, with little thought as to how any of it makes for a coherent story. At times, the movie feels like the Marvel version of a horror film, which makes a certain kind of sense given Raimi’s horror roots, but does nothing to make this particular story any better. Add in the overload of CGI and it comes off as just the filmmaking version of playing with toys; it may provide some fun distraction, but it’s ultimately meaningless.

    Cumberbatch has always been an odd fit with the character of Doctor Strange, but here he sticks out like a sore thumb. He appears to just be going through the motions, with no real enthusiasm for making the character (or his multiverse alter egos) special. The one bright spot of the film is Gomez, who has a real brightness to her despite being saddled by an odd storyline. She and her character deserved a better origin story than this.

    Where the MCU goes from here is anyone’s guess, but we now have a new answer for what the worst film they’ve put out is. Doctor Strange in the Multiverse of Madness is an oddly-named, poorly-written, and too-bizarre-for-its-own-good movie that may end up only being enjoyed by those who love the comic books.

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    Doctor Strange in the Multiverse of Madness opens in theaters on May 5.

    Xochitl Gomez in Doctor Strange in the Multiverse of Madness.

    Xochitl Gomez in Doctor Strange in the Multiverse of Madness
    Photo by Jay Maidment/courtesy of Marvel Studios
    Xochitl Gomez in Doctor Strange in the Multiverse of Madness.
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    Movie Review

    Rose Byrne plays one stressed-out mom in If I Had Legs I'd Kick You

    Alex Bentley
    Oct 24, 2025 | 4:24 pm
    Conan O'Brien and Rose Byrne in If I Had Legs I'd Kick You
    Photo courtesy of A24
    Conan O'Brien and Rose Byrne in If I Had Legs I'd Kick You

    Movie history is littered with depictions of stressed-out mothers who have breakdowns due to the pressure put on them by their children, spouses, or society in general. Recent examples include Hereditary, Tully, and Nightbitch, with each of them finding different ways to depict their main character’s struggles. Yet another put-upon mother goes through the wringer in the oddly-named If I Had Legs I’d Kick You.

    When we meet Linda (Rose Byrne), she’s already in the middle of a huge ball of stress. Her daughter (Delaney Quinn) suffers from an unnamed illness that requires around-the-clock care and frequent doctor visitors. Her husband, Charles (Christian Slater), is a boat captain whose job keeps him away from home for long periods of time. And her job as a therapist requires her to hear other people’s problems, necessitating her seeing a fellow therapist (Conan O’Brien) on a daily basis.

    Nearly everyone else she encounters in the movie adds to her anxiety, including Caroline (Danielle Macdonald), a new mother who’s constantly worried about her baby; Dr. Spring (Mary Bronstein), who constantly harps on Linda to get her daughter to eat; an officious parking attendant at the hospital; and a sneering desk clerk at the motel she and her daughter are forced to stay at after a plumbing disaster at home. Consequently, she dismisses James (A$AP Rocky), another motel worker, the one person who treats her with a modicum of kindness.

    Written and directed by Bronstein, the film is a harrowing experience that somehow also manages to be darkly funny at times. Linda is dealing with way too much for one person to adequately handle, something that is compounded by the fact that nobody really listens to her, not even the therapist she’s paying to do so. Scenes bounce back and forth between Linda demonstrating righteous anger at what the world is throwing at her and crushing guilt over supposedly not doing enough for her child.

    Bronstein depicts Linda’s journey in a number of interesting ways, some straightforward and others not so much. Bronstein makes liberal use of close-ups on Linda’s face, heightening the feeling that the world is closing in on her. The plumbing problem at her home results in a huge hole in the ceiling, which becomes the source of some unexplained phenomena, a choice that might have been unnecessary.

    What’s most striking about the film is how hardly anyone is on Linda’s side. Since the film joins the story as it’s already in progress, the audience is left to guess as to how Linda has behaved in the past to garner such negative interactions from people who should be helping her. While she’s not a perfect person, she also doesn’t appear to be such a jerk that she should be treated with disdain everywhere she goes.

    Byrne, who’s gravitated toward lighter roles in recent years, is an absolute marvel in this part. The more stress Linda feels, the more she becomes disheveled, and Byrne makes you feel every ounce of the character’s pain. O’Brien, who’s rarely had to play anyone but “Conan O’Brien” before, is surprisingly good, tamping down his comic sensibility to complement Byrne well. A$AP Rocky also makes a nice impression, elevating a character that’s a little underwritten.

    The role of a mom is never an easy one, and that’s in the best of circumstances. If I Had Legs I’d Kick You - a title that is never explained yet still somehow fits - earns its stripes by demonstrating how the often thankless job of motherhood can become even more distressing when the mom in question is given little to no support.

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    If I Had Legs I'd Kick You is now playing in select theaters.

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