Back Issues: Captain America 22-25

Story Title: “The Tomorrow Soldier” (Part 1 to Conclusion)
Published: 2 July 2014 (cover-dated: September 2014) to 1 October 2014 (cover-dated: December 2014)
Writer: Rick Remender
Artists: Carlos Pacheco and Stuart Immonen

The Background:
By 1941, Nazi Germany had decimated Denmark and Norway and World War Two was fully underway and, after some initial resistance, the United States joined the War against the “Axis powers” of Germany, Japan, and Italy. Patriotism and national pride was high, especially in America, during those dark days, making it the perfect time for Joe Simon and the legendary Jack Kirby to debut Captain Steve Rogers/Captain America and his kid sidekick, James Buchanan Barnes/Bucky, to encourage support of the war effort. Once the War was over, superheroes saw a decline and Captain America’s solo publication was cancelled in 1954. However, Cap got a second chance when he joined the Avengers as a “man out of time”, battling iconic villains like Johann Shmidt/The Red Skull and even opposing his fellow superheroes during a “Civil War”. After surrendering to the authorities, Cap was seemingly killed and his troubled sidekick, better known as the Winter Soldier, took up the mantle until Steve’s inevitable resurrection. However, in 2014, cybernetic supervillain Arnim Zola’s machinations saw Cap drained of the super soldier serum and rapidly aged into an old man! Thus the battle was on the see who would become the new Star-Spangled Avenger, a battle eventually won by Cap’s long-time ally, Sam Wilson/The Falcon, to much undue controversy, Created by Stan Lee and Gene Colon in 1969, the Falcon was the first Black American superhero in mainstream comic books and was specifically created to challenge social perceptions. After a lengthy career as a bit-player in Marvel Comics, Sam made headlines with his promotion, a story arc that achieved mainstream recognition due to Anthony Mackie’s celebrated portrayal of the character in the Marvel Cinematic Universe.

The Review:
Sam Wilson’s assumption of the Captain America mantle didn’t come easy, nor without drama. In the leadup to this story, Cap was kidnapped by Arnim Zola and spirited away to Dimension Z, where the mad scientist plotted to drain his super soldier serum to create a race of genetic super-beings! Cap broke free but was trapped in Dimension Z for ten years, during which time he raised Zola’s son, Ian, as his own. Though Cap eventually escaped with Jet Zola/Jet Black, Zola’s daughter, both Ian and Cap’s lover, Agent 13/Sharon Carter, were lost. Cap then spent some time working with Sam to mould Jet Black into a hero but, in a battle with former Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.) agent-turned-madman, Ran Shen/Iron Nail, Cap’s super soldier serum was neutralised and he quickly aged into frail, infirm old man! Our story picks up with Steve sequestered at Avengers Mansion, stewing over sensationalist news reports demanding accountability for Captain America and S.H.I.E.L.D.’s dangerous and destructive antics. Steve’s offered council by S.H.I.E.L.D. director maria Hill and the decidedly Samuel L. Jackson-esque Nick Fury Jr., who assure him that he saved countless lives taking down Iron Nail. Unfortunately, his shield has been left too radioactive to be returned to him and Steve’s aghast when he’s told S.H.I.E.L.D. won’t be destroying Gungnir, the weaponised, Transformer-like Helicarrier Iron Nail hijacked and threatened the United States with. Steve is so angered that he starts to wonder if the reports of corruption within the government and S.H.I.E.L.D. aren’t valid, though Fury simply explains that contingencies such as Gungnir are vital to protect innocent civilians and keep the public from being overly reliant on costumed heroes, especial as the Avengers’ roster has dwindled lately.

When Armin Zola’s mutates invade, the Avengers gain an unlikely ally in Steve’s adopted son!

Over on the upper west side, Sam Wilson wakes up to a hell of a hangover and to find he spent the night with Jet Black! Though he’s not exactly thrilled at having crossed that line, he seems won over by her affections, but their tender moment (and the awkwardness) is interrupted when Jet spots a commotion outside. It turns out that her father, Armin Zola, is so eager for revenge that he rips open a hole in the fabric of reality and his monstrous, “hyperevolved mutates” come pouring into Central Park, followed closely by a mysterious man garbed in a spiked battle suit. Zola quickly contacts the Red Skull to co-ordinate their newest efforts in overthrowing the decadent West, asserting himself as a menacing force in his own right and seemingly earning the Red Skull’s respect with his army of mutates. While Anthony “Tony” Stark/Iron Man and Doctor Robert Bruce Banner/The Incredible Hulk work to find some way of restoring Steve’s superhuman condition, they (along with Thor Odinson and Steve himself) are alerted to the crisis via the mansion’s monitors. Steve immediately recognises the threat as Zola; Stark is incredulous but quickly convinced of the danger when the armoured mutate comes crashing through the wall. Luckily, the Hulk is around to face the stranger (with Banner having more control over the Hulk at this point). Naturally, Iron Man adopts a snarky “shoot first, ask questions later” philosophy, leading to an explosive confrontation as he and Thor try to keep the masked intruder from reaching Steve. However, the masked man easily avoids their attacks and even gets the better of Thor, running rings around them, only to be astonished by Steve’s frail condition. This distraction allows the Hulk needs to strike; ironically, though the stranger deftly evades the Green Goliath, Steve easily subdues the masked man. However, Steve is stunned when the intruder unmasks to reveal himself as Ian Ziola, now Ian Rogers, Steve’s adopted son, who was regenerated from death by one of Zola’s “bio-mass [tanks]”.

Zola manipulates events to coerce his daughter, whom the Falcon rushes to defend.

Overjoyed to see Ian alive and that he’s come to help, Steve proudly introduces him to his fellow Avengers but distraught to learn that Ian’s been fighting Zola alone for the last ten years. Steve then gets a call from the Falcon, who relays the extent of Zola’s attack: thanks to the city’s birds, Sam has seen the monsters rapidly spread throughout New York City. Jet Black then reveals she knows a way into her father’s fortified tower that may help them to stop the invasion and calls upon the Avengers to go along with her father’s plan, which is to face him head-on, to provide a suitable distraction. The Avengers readily accept, taking the fight to the ravenous, near-mindless hoards alongside their new ally, and are initially unimpressed by Zola’s forces. However, they’re soon confronted by Zola’s “hyper-mutates”, warped, monstrous copies of the Avengers that call themselves the “Unvengers”! Meanwhile, Jet Black and the Falcon easily infiltrate Zola’s tower, affirming that her allegiances lie anywhere but with her crazed father and insisting on using her position as the madman’s daughter to throw off his mutate guards. The plan works and they advance through the tower, only to find Sharon held hostage in a pitiful cell! After learning about Sharon’s predicament from Sam, Steve immediately asks Ian to leave the fight to the Avengers and go rescue her; though Sharon warns that such an act was all foreseen by Zola. When Jet confronts her father in his control room, he all-but guarantees the Red Skull that he can win her over to their side, claiming everything she’s done – even her betrayal – was also all part of his manipulative will. The Falcon breaks up the tense family reunion, tackling Zola out the window and sending him crashing to the streets below. Zola recovers near-instantly, however, his patience with his “perfect child” wearing thin, but the Falcon immediately intercepts him in mid-air.

Though the Avengers turn on Jet, Sam survives to take up the Captain America mantle.

Raging at Zola for his ill treatment of Jet, the Falcon fights valiantly even as Zola smashes a bus onto the mis-matched hero. When Jet rushes to his aid and Zola sees how much she cares for the Falcon, Zola vows to murder him to rid her of such weaknesses all while hypocritically declaring his undying love for her! Thanks to Sharon, Steve warns the Falcon that Zola plans to blow up Avengers Tower, though Sam inadvertently kickstarts the detonation when he has Redwing remove Zola’s “telepathic broadcast doohickey”! When the Unvengers keep Iron Man from helping and Ian and Sharon are unable to disarm it, the Falcon bravely and selflessly grabs the bomb and flies high into the sky, bidding an emotional farewell to Steve and urging him and Sharon to enjoy their retirement with Ian before the bomb explodes in his arms. A horrified Steve thinks back to when he and Sam first met, the adversity he fought through, and how hard he worked to be a hero without any superpowers, fancy gadgets, or special serum as Iron Man sombrely retrieves the Falcon’s surprisingly intact body. Though Zola pleads with Jet Black to return to Dimension Z where she can be safe from the Red Skull’s looming threat, she angrily rebukes him. Sharon, Steve, and the Avengers gather in quiet mourning, only to be astonished when he comes to and reveals that Stark made him some Adamantium wings, which absorbed most of the blast! Though everyone’s overjoyed by this, Sharon blames Jet for Zola’s attack and accuses her of being a double agent. To Jet’s dismay, even Sam has his doubts and, when the Avengers try to restrain her to investigate, she angrily rushes to Zola’s tower, believing her father was right that her new allies couldn’t be trusted. One week later, seemingly every superhero around gathers at Avengers Mansion, where Steve announces his retirement from superheroics due to his condition (though he and Sharon plan to aid the Avengers with tactical support). He also reveals that Sam is the new Captain America and proudly hands him his shield, entrusting one of his oldest friends with his legacy, which Sam humbly accepts with a cry of “Avengers Assemble!

The Summary:
This was a difficult story to just jump into without context. A lot of modern comics are like that, with one series of mini arcs leading to the next, all of it part of a bigger picture. I get it and I accept it and I know there’s some onus on the reader to maybe get some background before diving in feet-first. However, since I’m mostly going on some background reading and what the “Previously…” recap is telling me, there were a few characters and events that I wasn’t very familiar with. Jet Black and Ian Rogers were two main examples; I knew Steve aged into an old man around this time, but I didn’t realise he took a son and a protégé as well. Consequently, Ian’s big reveal didn’t impact me as much as other, more invested readers but I think Rick Remender did a great job of conveying Steve’s shock and joy at seeing his son alive and well. I loved that Steve proudly introduced him to his surrogate family, the Avengers, and that Ian wasn’t some bitter, twisted soul looking to kill his adopted father. Instead, we got a young man who’s actually happy to see and fight alongside his father for a change, something very rare in comics. Ian meshes well with the Avengers, sporting a smart mouth and a capable agility despite his years of fighting against his maniacal father and living in a nightmarish alternate dimension. Similarly, I didn’t have much of a connection with Jet Black but I think the story did a good job of showing her as a character just trying to find her way. I liked her blossoming relationship with Sam (even if his reaction at waking up with her was a little odd) and that she willingly and selflessly opposes her father once he arrives. She does nothing except lash out against Zola, rebuking his offers and voicing her hatred of him even as he tries to win her over with his silver tongue. And, for all her efforts and hard work and personal turmoil, Jet is met with suspicion and accusations from even her own brother. Thus, she’s driven from her newfound allies and retreats back to Zola, devastated to learn that he was right and that she would never be accepted as one of them all because Sharon blew her lid and Sam barely even vouched for Jet’s trustworthiness.

For a story meant to be Sam’s crowning moment, he was strangely portrayed throughout.

Indeed, I hope subsequent issues delved into Sam’s feelings regarding this. He barely says anything when Sharon accuses Jet and gets only one panel where he seems conflicted or upset by what he sees as a betrayal. It’s a weird way to end the conflict, especially considering everyone was just mourning Sam’s loss and celebrating his survival. Sam’s selfless actions and his commitment to justice despite lacking any superpowers are the qualities that make him suitable to take up the Captain America mantle, yet this feels somewhat tarnished since he didn’t showcase any loyalty to Jet or any conviction in defending her. He stood there, stunned, and let everyone run their mouths, which doesn’t scream “Captain America” to me. In fact, this is a bit of an odd story to introduce Sam as Cap in general, really. For most of the issues, he’s not really doing anything except flying around and reporting intel to the Avengers. Sure, this is useful from a tactical standpoint but the mutates were swarming everywhere; I’m pretty sure the Avengers would’ve spotted them without him. The Falcon does take the fight directly to Zola, infiltrating his tower with Jet Black, and he does valiantly fight the cybernetic madman despite clearly being outmatched. During this fight, the Falcon also sticks up for Jet in a way he fails to do once the conflict is resolved and his fighting spirit is certainly commendable, but I feel like any hero would’ve fought just as hard in his stead. The Falcon making the sacrifice play is a great shorthand for the mentality needed to be Captain America but, again, it feels a touch hollow. Like, Iron Man was just about to take care of the bomb before he got interrupted and Sam probably wouldn’t have had to make that call if he hadn’t yanked out Zola’s broadcast device. It just felt a bit rushed and out of nowhere to me and I can’t help but wonder if maybe it would’ve been better to play things a little closer to the ground. Like, have Zola threaten to kill a group of civilians and have Sam shield them with his wings and seemingly be beaten to death, or something like that. Just something a little less random and a bit more in-line with his status as a more grounded, “human” superhero.

I liked that Steve passed on the mantle but the story felt oddly rushed at times.

On the plus side, Carlos Pacheco and Stuart Immonen do good artwork. I liked Iron Man’s darker armour and Ian’s totally nineties emo armour (I mistook him for Robbie Baldwin/Penance at first), though Jet Black felt a bit overdesigned. Similarly, while Sam’s Falcon outfit is a vast improvement over his debut costume, I can’t say I’m a big fan of his Falcon/Captain America hybrid suit. He reckons it’s “sexy” but it looks a bit of a mess to me, with miss-matching colours and a far too “busy” design. Maybe if his chest emblem was just the star, which was an extension of his weird-looking cowl, I’d like it more. I dunno, it just looks uncomfortable to wear and a pain in the ass to draw. I quite enjoyed the passing of the torch, though, in concept. I like seeing Steve rendering incapable of continuing as Captain America and retiring to a more sedentary life, though I do think Bucky is a better choice to take up the mantle. I get the idea that Captain America is a symbol of what a normal man can strive to be, but Steve was at least partially superhuman thanks to the super soldier serum. Then again, considering the Falcon survived having a bus dropped on his head, it’s safe to assume he’s more durably than Joe Public. I really like seeing all the other heroes immediately accept and endorse Sam; there was no question or objection, and he slipped into the role effortlessly. However, I feel he didn’t play a big enough role in this conflict. He fought Zola, sure, but to a standstill and didn’t defeat him; he just stopped his plan, and he lost his girl in the process. It’s a weirdly, tonally confused story for me and a strange way to usher in a new Captain America, though I was left curious to explore how Sam adapted to the role and the fallout from this adventure.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to Sam’s promotion to Captain America? Do you agree that this was a strange story to make that change or did you like the way it went down? What did you think to Sam’s suit, and do you like seeing him in the role? Were you disappointed that the Unvengers didn’t do more, and that Sam didn’t try harder to defend Jet Black? What are some of your favourite moments from Sam’s time as Captain America? Use the comment section below to share your thoughts and go read my other Marvel and Captain America content on the site.

Movie Night: Madame Web

Released: 14 February 2024
Director: S. J. Clarkson
Distributor: Sony Pictures Releasing
Budget: $80 million
Stars: Dakota Johnson, Tahar Rahim, Sydney Sweeney, Celeste O’Connor, Isabela Merced, and Adam Scott

The Plot:
After a near-death experience,.paramedic Cassandra “Cassie” Webb (Johnson) begins seeing glimpses of the future revolving around Ezekiel Sims (Rahim), a superpowered businessman determined to kill three teenagers before they can kill him in the future as Spider-Women, compelling Cassie to begrudgingly discover the truth of her past and protect the girls.

The Background:
After Sam Raimi’s Spider-Man trilogy (2000 to 2007) proved a phenomenal success, Marc Webb’s reboot films proved sadly mediocre and led to an unprecedented agreement between Sony Pictures and Marvel Studios that allowed the iconic wall-crawler to appear in the Marvel Cinematic Universe (MCU) and Sony to release tangentially-connected spin-offs featuring Spidey’s villains and side characters. Encouraged by the financial (if not critical) reception of their Venom (Various, 2018 to present) movies (and seemingly undeterred after the car-crash reception of Morbius (Espinosa, 2022)), Sony not only signed off on a solo project for Sergei Kravinoff/Kraven the Hunter, but also the enigmatic clairvoyant Cassandra Webb/Madame Web. Created by Dennis O’Neil and John Romita Jr., Madame Web first appeared in The Amazing Spider-Man #210 and significantly influenced Spider-Man’s battles against multiversal forces, but is perhaps best known for her inclusion in the Spider-Man animated series (1994 to 1998), where she was voiced by Joan Lee (wife of the legendary Stan Lee). Writing began on a Madame Web feature while Morbius was still in production and saw numerous rewrites, even after director S. J. Clarkson signed on and retooled it into Sony’s first female-centric Marvel film. Producer Lorenzo di Bonaventura expressed difficulties in adapting Madame Web’s clairvoyance to the screen and emphasising secrecy surrounding the project given her relative obscurity, a fact explicitly addressed by the inclusion of other, more recognisable Spider-Women. The cast appear to have been mislead as to the status of the film in the wider MCU; this may explain the bizarre marketing campaign that saw star Dakota Johnson seemingly openly criticise the film, though she wasn’t the only one. After numerous delays, Madame Web released to scathing reviews; the film made just shy of $100 million at the box office and critics attacked the poor dialogue and script, lacklustre special effects and pacing, and the blatant false advertising regarding three of the lead characters.

The Review:
So, if I had a whole bunch of negativity towards making standalone, Spider-Man-less films about the likes of Eddie Brock/Venom and Doctor Michael Morbius, you can be damn sure that I was baffled to the point of insanity by the decision to make a solo Madame Web movie. Not only is she an extremely obscure Spider-Man character, but her depiction is generally as a wizened, blind mentor who manipulates Spider-Man like a chess piece as part of Marvel’s on-again/off-again insistence on convoluting Spidey’s origins and mythos with semi-paranormal cosmic ideas of Spider Totems and “Webs of Fate”. It’s ironic, really, as the concept could have worked a little better if Madame Web had been depicted as a Professor Charles Xavier/Professor X-type figure, mentoring and recruiting Spider-Women to oppose the Inheritors, despite my dislike for them, because at least then the focus would be on the spider-powered women and not this thoroughly unlikeable paramedic who, despite choosing a carer where she’s sworn to protect lives and being depicted as a workaholic who rushes to do that very thing, is reluctant to help the three girls targeted by Ezekiel Sims. Much of Cassie’s reluctance stems from her lingering feelings of abandonment, confusion about her true self and past, and what’s framed as an unconventional upbringing since her mother, Constance (Kerry Bishé), died during childbirth and Cassie was raised in the foster system, left with only mementos of her mother, Constance’s research into the near-mythical spiders of the Peruvian jungles, and the mistaken, childish belief that Constance cared more about her arachnids than raising her daughter. Consequently, Cassie has a bit of an abrasive edge to her; while she tirelessly works to save lives alongside her friend and partner, Ben Parker (Scott), she’s uncomfortable with receiving gratitude for this, has no idea how to act around children, and would much rather spend time in her apartment with a local stray cat than socialise with her colleagues or even Ben’s pregnant sister-in-law, Mary Parker (Emma Roberts). Her anxiety and social awkwardness is only exacerbated after she nearly drowns and is sporadically bombarded by visions of the past and near future, all framed by a mysterious web-like pattern, though she initially dismisses these visions and it takes her a ridiculously long amount of time to realise that they’re not only true, but that the fates she is witnessing can be changed.

Three girls destined for greatness must rely on Cassie’s sporadic clairvoyance to survive.

Central to her visions are four individuals – a violent killer clad in a somewhat-familiar spider-themed costume and possessing superhuman strength and spider-like abilities, and three twenty-somethings teenagers that Cassie sees horribly murdered by this assassin time and again. As fate would have it, their destinies are all intertwined and lead Cassie to encounter the three girls individually to establish some surface-level characteristics for the three that are partially developed as the film chugs along. Julia Cornwall (Sweeney) is the quiet, shy girl who’s struggling with her parents’ divorce, Anya Corazon (Merced) is both book smart (she literally wears a t-shirt proclaiming her love of “math”) and dealing with fending for herself after her father’s deportation, and skater Mattie Franklin (O’Connor) is the streetwise rude girl with a chip on her shoulder since she comes from money. The three couldn’t be more different but quickly form a genuinely enjoyable sisterhood after they’re saved by Cassie; while initially distrusting of her, they eventually come to believe in her janky clairvoyance after she saves them from Ezekiel multiple times. However, Cassie is seemingly impulsively compelled to do this, and it takes her a while to realise the responsibility she has towards the girls; she routinely abandons them, chastises them, and even jets off to Peru to investigate her origins and undergo a spiritual journey that finally teaches her that she has an obligation to protect the three with her abilities. The three girls do their best with the materials, appearing fun and likeable and adding some pathos to their characters through their shared feelings of abandonment, but the script is rarely in their favour. The same is true for Cassie, who constantly narrates her life like an idiot and acts very irrationally for a paramedic, though eventually she settles into the role of a reluctant surrogate mother and protector to the girls.

Ezekiel targets the girls to save his own life, but is a pretty weak and one-note villain.

The girls are targeted by Ezekiel since he’s been plagued by visions of his death at their hands at some point in his future. Previously working alongside Constance, Ezekiel betrayed and killed her to get his hands on a mysterious spider that granted him his amazing powers, but also cursed him with the knowledge of his impending death. In the interim, he built a vast, indistinct corporate empire and has become obsessed with finding and killing the three Spider-Women who’ve haunted his nightmares, aided by his “girl in the chair”, Amaria (Zosia Mamet), who hacks into the police database and CCTV cameras all over the city to track the girls down. It’s not made clear why the Spider-Women would hunt down and kill Ezekiel in the future, or what he’s done that makes him such a diabolic villain except one confirmed kill, but boy does he like to mumble and grumble about how badly he wants them dead and his desire to ensure he lives on! As if having all the wealth and technology he needs at his disposal isn’t enough, Ezekiel also possesses spider-like powers; he can walk and climb on walls, leap vast distances, possesses superhuman strength and reflexes, and can poison his victims with a touch, eventually causing cardiac arrest. He also seems to display some degree of clairvoyance and psychic power to rival that of Cassie, communicating to her on the astral plane at one point, and dresses in an admittedly cool looking outfit when out on the prowl. How he changes in and out of this isn’t made clear either, however, as he’s often seen wearing the form-fitting suit in one scene and then fully in his business attire in the next with no explanation, and he’s routinely humiliated by Cassie since she can anticipate his actions ahead of time. While Cassie doesn’t demonstrate the same superhuman powers, the three girls do in the frantically-edited visions of the future, though it’s unclear how, when, or why they gained superhuman powers. Ezekiel does, however, share his powers with the mysterious Las Arañas, a secret Peruvian tribe who dress in makeshift jungle attire that’s very similar to Spider-Man’s and try to save Constance when she’s wounded, delivering Cassie and then later making her realise that her mother ventured into the jungle to save her, not because she didn’t care about her. Frankly, I find this whole aspect to be borderline insulting; I hate the idea of a tribe of Spider-People and of a spider species that can grant these powers as it diminishes Spider-Man’s uniqueness, though the depiction of the spider-powered people clambering and leaping about the place is pretty good and surprisingly horrific, especially when Ezekiel is tossing bodies around in Cassie’s visions.

The Nitty-Gritty:
There’s a shared feeling of abandonment between the four female leads; all of them feel like outsiders to some degree, isolated from others and even their families since they either don’t have a parental figure, or their parents don’t seem to care about them. While their individual personalities initially clash because of their different backgrounds and current social standing, they quickly bond once they realise how much they have in common, with the three girls, especially, forming a makeshift sisterhood due to their current circumstances. Although Julia is Cassie’s most vocal supporter, they initially believe she’s either crazy or just another adult they can’t rely on and decide to go against Cassie’s warnings and fend for themselves, an action that very nearly sees them all killed by Ezekiel before Cassie intervenes. She chastises them, angry at their irresponsible and reckless actions, but struggles to give them the answers they want and to properly care for them since he’s apparently so maladjusted that she can barely stand to be around her handful of friends, much less look after three scared teenagers. Thus, she turns to Ben to shelter the girls while she tries to find answers in Peru; this turns out to be a good decision since Ben is a much more emotionally stable individual. He deeply cares for his sister and is extremely excited about being an uncle, but is also devoted to his friend and partner, to the point where he resuscitates Cassie after she drowns, begs her to socialise with his family and their colleagues, and agrees to look after the girls even though he has no idea what kind of danger they’re in. As good as Adam Scott was in the role (I particularly liked the banter he shared with Cassie, which hinted at a former attraction, and his struggles to keep up with the girls), the only reason he’s here is for fan service: yes, he’s playing the future Uncle Ben and, through him, we even see the birth of his nephew (who ridiculously goes without a name) and get hints towards his future, despite Madame Web taking place in its own separate continuity from previous Spider-Man movies. There’s also something really weird about Julia, Anya, and Mattie all being older than Peter and the frustration of the three running around in normal street clothes instead of the awesome Spider-Women suits we barely get a glimpse of in their future.

In the absence of the Spider-Women, we’re left relying on Cassie’s visions and Ezekiel’s threat.

Yes, Madame Web is another great example of Sony lying to us; the trailers and posters showcased Julia, Anya, and Mattie as fully-empowered Spider-Women but this isn’t the case at all. I guessed that we wouldn’t see them suit up until the very end, but the truth is far worse; they only wear their costumes in fleeting visions, with no explanation of how they get their powers, and the film has the gall to setup a potential sequel that actually addresses these issues, but to me it’s a dropped ball that completely derails the movie. The bulk of Madame Web is focused on Cassie’s struggles to reconcile her past and understand her newfound powers; there are numerous scenes of her witnessing snapshots of the future, meaning we get a lot of time loops and confused looks from Cassie that border on the maniacal as she tries to understand what’s happening. Primarily, though, these visions are used as fake outs; almost every time, the scene will show Ezekiel coming in, wrecking fools, and killing his targets in an almost effortless manner, only to suddenly snap back to Cassie and show her taking action to avoid this fate. It’s all very reminiscent of the Final Destination films (Various, 2000 to present), which is fitting but kind of lowers a lot of the stakes since you can just assume every violent scene or action sequence is just a vision. When Ezekiel does get a chance to fight, he’s effectively peerless; none of the protagonists have the strength or ability to go toe-to-toe with him, meaning Cassie drives a lot of cars into him and catches him off-guard with her clairvoyant powers, leaving him perplexed and looking stupid. When the Las Arañas appear, it’s all shot with an unsettling, nightmarish shaky-cam filter that makes their appearances and abilities not only difficult to pin down, but also appear needlessly cartoonish.  There are some decent effects at times, such as when Cassie takes her spiritual journey and interacts with the Web of Fate and the lingering memory of her mother, and things are surprisingly grounded for a Sony Spider-Man-adjacent movie, with Ezekiel being unable to swing from webs and more reliant on his physical abilities. This, in conjunction with his intimidating costume, does paint him as a formidable figure; he’s almost like a slasher villain at times, draining the life from his victims, breaking their limbs, and pouncing like an animal, but this persona is awkwardly juxtaposed with his pandering civilian identity, where he may as well twirl an old-timey moustache as he spouts generic villain dialogue with little charisma or conviction.

Cassie accepts her fate to defeat Ezekiel and mentor the future Spider-Women.

So, all these recent revelations help Cassie make sense of her mother’s notebooks; while she previously resented Constance’s apparent fixation on her spider research, she realises that her destiny has been intertwined with Ezekiel’s since before her birth and takes herself to Peru to find answers. There, a Las Arañas, Santiago (José María Yazpik), helps her to realise that her mother was trying to cure her of some disease and that she has a greater destiny, one that will bestow her with “great power” once she accepts the “responsibility” that comes from her abilities. Before, she saved and sheltered the girls simply because it was the right thing to do; she had little interest in watching over them or bonding with them, or of their greater destinies as Spider-Women, but her spiritual journey motivates her to actively shield them from Ezekiel’s wrath, and gives her greater control over her future sight. After rescuing them and allowing Ben and Mary to get to safety, Cassie takes the girls to a fireworks warehouse and they finally set aside their differences to set a trap for Ezekiel, planting flares all over the place to cause a series of explosions. This actually causes quite a few issues for the protagonists, however, as the explosions destroy the helicopter Cassie called in to rescue them and eventually sees Julia, Anya, and Mattie separated and facing fatal falls. Luckily, Cassie masters her powers enough to…somehow…spiritually duplicate herself long enough to help the three to safety, incurring Ezekiel’s anger. Despite him being haunted by very specific visions of his death at the hands of the three Spider-Women, Cassie changes his fate and claims that she was always the one who was destined to end him (which doesn’t seem true, but okay) and lures him onto unstable ground, eventually causing him to plummet to his death and be crushed by debris. Cassie also takes a plunge but, luckily, she taught the girls CPR earlier and they’re able to revive her, though she’s not only inexplicably left paralysed with no explanation but also winds up blinded by a stray firework. Still, she’s not bothered by this; in fact, the film ends with her happier than ever since she can now, presumably, use the full extent of her psychic powers and clairvoyance to see and understand the future and is prepared not just to take on the three as their foster mother, but to mentor them into the Spider-Women they are destined to become…effectively ending the film where it really should’ve started! Like, why not have Cassie already be infirm but fully empowered and training, say, Julia, showing their origins through flashbacks and exposition, and have Julia be the point woman in recruiting Mattie and Anya when Ezekiel, an Inheritor assassin, targets them? It could’ve been Sony’s answer to the X-Men, in a way, and even take place in the same universe as their other pointless spin-offs, and might’ve been more enjoyable because then we would’ve gotten to see the gorgeous Sydney Sweeney in their slick, form-fitting Spider-Woman costume for a lot more of the runtime!

The Summary:
I went into Madame Web expecting it to be bad based on the trailer, the disaster that was Morbius, and my dislike for the concept in general. I tried to have an open mind, however; the cast, for example, intrigued me, as did the costume design, and to be fair there is the ghost of a semi-decent idea here, it just would’ve worked better as a side plot in a Spider-Man film or reworked to have Julia Carpenter/Spider-Woman at the forefront, with Cassie as a mentor figure. Any goodwill the film might’ve gotten from its Spider-Woman costumes is flushed down the toilet since we barely get a good look at these and the girls don’t even become Spider-Women in the movie; Ezekiel’s costume and action scenes somewhat make up for this, but he’s such an ineffectual and confusing villain that it’s hard to care when he’s onscreen. The relationship between the protagonists was somewhat enjoyable; I liked how the girls bonded, their shared feelings of abandonment, and them coming together as a surrogate family, but it’s executed so poorly and, although the girls do try, they’re all hampered by a really awful script. Dakota Johnson suffers from this the most, I think; she was some weird, awkward silences and quirks and is forced to spit out some really awful dialogue and nonsensical exposition. Add to that the fact that Cassie is a weird and pretty unlikeable character, abandoning and yelling at the girls even though she’s supposed to be a paramedic and you have a main character who’s hard to relate to, a villain as flat as a piece of paper, and three boisterous young girls who are completely wasted in this travesty of a film. It’s more than a step back for the genre; Madame Web harkens back to a time when superhero movies were not only afraid to use codenames and costumes, but outright ashamed of them, delivering cookie cutter dramas that falter at the first hurdle. It’s a sad state of affairs and I have lost all hope for Sony’s future Spidey-adjacent movies, and my expectations were already at the bottom of the barrel to begin with!

My Rating:

Rating: 1 out of 5.

Terrible

Did you enjoy Madame Web? If so…what’s the matter with you? What did you think to the performances and the dynamic between the four protagonists? Were you disappointed that the girls didn’t actually become Spider-Women in the film? What did you think to Ezekiel, his characterisation, and the nonsense about the Las Arañas? Do you think a Madame Web movie could ever work, or would you rather see a Spider-Woman take the forefront? Which Spider-Woman is your favourite? I’d love to know your opinion of Madame Web, so leave a comment below and be sure to check out my other Spider-Man and Marvel content.