Marvel movies. They’ve become so ubiquitous, so ever-present, it’s hard to remember a time when they didn’t occupy cinema screens en masse and dominate the box office. This isn’t necessarily a bad thing, mind you. Even the weakest Marvel offering is usually a pretty good time, however all but the most ardent superhero lover would likely agree that stylistically these flicks are starting to feel a bit samey. This house style has frustrated some directors – Edgar Wright who left Ant-Man for one – and occasionally it feels like these movies are simply slick content delivery machines. Doctor Strange in the Multiverse of Madness does not feel like that, and the movie – for all its many shortcomings – offers a rather unique (albeit occasionally baffling) experience in a genre of film that is all too often homogenised. And how does it accomplish this?

Three words, people: Sam motherflippin’ Raimi.

Doctor Strange in the Multiverse of Madness continues the tale of neurosurgeon-turned-wizard Dr. Stephen Strange (Benedict Cumberbatch), who in the dizzying opening moments of the movie meets America Chavez (Xochitl Gomez), a teenager on the run from various gloopy monsters. Said beasties appear to be after America’s ability to zip through the multiverse, from one dimension to another during moments of extreme emotion, and ol’ mate Strange decides to give Wanda Maximoff (Elizabeth Olsen) a ping to see if she can help. And… that’s all the story beats we can chat about without getting super spoilery.

Multiverse of Madness takes some big, BIG narrative swings throughout and while not all of them work, they’re undeniably ballsy. It’s also probably the Marvel movie you’ll need to do the most homework for. Unless you’ve seen the entirety of WandaVision (streaming now on Disney+), you’ll likely be a little lost. Hell, you might even raise an eyebrow or two if you have!

See, Multiverse of Madness goes berko. Wild new dimensions are visited, jaw-dropping cameos occur and the level of creepy moments and straight up gore is higher in this flick than any other Marvel offering. Like, don’t get us wrong, it’s not A Serbian Film or anything, but it’s probably going to have your ruggies hiding behind the seats and adult fans cackling with inappropriate laughter. The sheer unbridled verve with which Sam Raimi directs the shit out of this yarn is an absolute pleasure to behold.

Raimi hasn’t actually directed a feature film since 2013’s forgettable Oz the Great and Powerful, but in that time the 62-year-old Evil Dead helmer hasn’t lost a step. From the opening moments to the end credits, this feels like a Sam Raimi flick. Dutch angles, roaming camera, alarming close-ups and giddy whip pans are all present, as well as new tricks including an hilariously grisly third act addition that we won’t spoil, but you’ll know it when you see it.

It’s a good thing Raimi’s so on point too because, frankly, the script is a bit of a mess. It simplifies a lot of the great character work done with Wanda in WandaVision and spends quite a bit of the second act seemingly unsure where to go. Perhaps some of the lumpy, inconsistent structure is a hangover from previous director Scott Derrickson (who departed the film due to those “creative differences” that seem all the rage these days), but the result is a film that at times feels at odds with itself. That said, it does end on a high note, with one of the more exciting and visceral third acts in Marvel history.

Ultimately, Doctor Strange in the Multiverse of Madness is a bit of a mixed bag. The script is patchy and feels micro-managed, but the direction is vital and lively. This is an okay narrative directed by a master, and while the end result is imperfect, it also feels weirder and gutsier than recent entries.

Sure to be divisive for all sorts of reasons, Multiverse of Madness is destined to be the Marvel film most appreciated by stoners, goth kids, horror fans and twitchy weirdos. And if you know that up front, there’s a weirdly giddy adventure waiting for you to enjoy.

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