First of all, there’s the movie title: “Madame Web.”

By definition, Madame is a polite way to address a woman, derived from the French ma dame (my lady).

By definition, Web is a silken thread spun by a spider, a snare, a roll of paper on a printing press, or an abbreviation for the worldwide web.

The movie title, “Madame Web,” refers to the Marvel Comics’ character, Cassandra “Cassie” Webb, played with a wink, wink nudge, nudge by Dakota Johnson, as if she’s in on the joke that this film is.

The phrase, “Oh, what a tangled web we weave, when first we practice to deceive,” is from Sir Walter Scott’s epic poem “Marmion” (1808).

The observation could be applied to the Marvel Cinematic Universe.

Perhaps had the screenwriters of “Madame Web” done their research, they could have, ahem, woven, historic and symbolic elements into the storyline.

Alas, “Madame Web” spins out of control. The movie is blandly two-dimensional, with scant backstory given to Cassandra Webb, limited placement of Cassandra Webb in the Marvel Cinematic Universe and dodgy dimensions given Cassandra Webb’s superpowers.

Cassandra Webb can see into the future. “Madame Web” the movie, with its time-jumping elements, super-shifting editing and a plot as thin as the strand of a spider web, plays as a knock-off of “Everything, Everywhere, All At Once,” which won seven Oscars, including picture and director, of its 11 nomination at the 2023 Academy Awards.

The only award “Madame Web” might receive is a Razzie at the satirical Golden Raspberry Awards.

“Madame Web” is especially a disappointment because Dakota Johnson is a good actress. Her screen persona has a quiet magnetism that could be misperceived, a la Keanu Reeves, as in a lack of acting ability. Au contraire. As with Keanu Reeves, Dakota Johnson has distilled her acting style to the essence of movement and expression.

In “Madame Web,” Cassandra “Cassie” Webb is a New York City paramedic who develops the power to see into the future.

She teams up with three young women, Julia Carpenter (Sydney Sweeney), Anya Corazon (Isabela Merced) and Mattie Franklin (Celeste O’Connor), protecting them from their nemesis Ezekiel Sims (Tahar Rahim).

The film-makers missed opportunities for character development in scenes between fellow paramedic Ben Parker (Adam Scott) and Cassie Webb. There could have been more fun repartee between Cassie and the three women, Julia, Anya and Mattie. The film lacks the quips, pop culture references and fun emblematic of the comic-book action-hero movie genre. The role of Ezekiel Sims is not developed..

The action is aplenty and mostly incoherent with one exception. The fight scene where the four women face off against Ezekial Sims at the big Pepsi-Cola neon sign, Gantry Plaza State Park, Long Island City, Queens, New York City, is a nice touch.

S.J. Clarkson (director, TV’s “Anatomy of a Scandal,” 2022; “Life on Mars,” 2006-2007; TV’s “Doctors,” 2001-2004) in her feature film directorial debut works from a screenplay she co-wrote with Matt Sazama and Burk Sharpless (screenwriters, “Morbius,” 2022; “Power Rangers,” 2017; “Gods of Egypt,” 2016; “The Last Witch Hunter,” 2015) and Claire Parker (producer, “Anatomy of a Scandal,” “Life on Mars”) from a story by Karem Sanga (“The Violent Heart,” 2020; “First Girl I Loved,” 2016; “The Young Kieslowsk,” 2014) and Sazama and Sharpless.

Dakota Johnson (“Persuasion,” 2022; “The Peanut Butter Falcon,” 2019; “Fifty Shades of Grey,” 2015, and its sequels; “The Social Network,” 2010) plays Cassandra Webb as an enigma, which works well. However, Johnson is given little dialogue. Johnson makes the best of the role with her piercing blue eyes and always-captivating screen presence.

The Marvel Cinematic Universe and maybe the superhero genre overall has a women’s roles problem, evidenced by “The Marvels” (2023) and the DC Extended Universe “Wonder Woman 1984” (2020) and “Madame Web,” each commercial and critical disappointments.

The comic-book superheroes’ fan boy culture is toxic masculinity on steroids.

In “Madame Web,” what a tangled web the Marvel Cinematic Universe weaves.

“Madame Web,”

MPAA rated PG-13 (Parents strongly cautioned: Some material may be inappropriate for children under 13) for violence, action and language. Genre: Action, Adventure, Science-Fiction; Run time: 1 hour, 56 minutes. Distributed by Sony Motion Pictures.

Credit Readers Anonymous:

“Madame Web” was filmed on location in Palenque National Park, Chiapas, Mexico; Boston, South Shore, and New England Studios, Devens, Mass., and New York City, July - October, 2022. Concluding scenes foreshadow a future for the trio of Spider Women. The closing credits include the 1992 song, the debut single, “Dreams,” by The Cranberries, sung by the late Dolores O’Riordan.

At The Movies:

“Madame Web” was seen in the Dolby Cinema at AMC. It was unnecessary: the screening format and the movie.

Theatrical Movie Domestic Weekend Box Office,

March 1-3: “Dune: Part Two” stirred up a sandstorm of ticket sales, opening at No. 1 with $81.5 million in 4,071 theaters, creating a pressure drop for “Bob Marley: One Love,” down one place after two weeks straight at No. 1 with $7.4 million in 3,390 theaters, $82.7 million, three weeks.

3. “Ordinary Angels” stayed at No. 3 with $3.8 million in 3,020 theaters, $12.5 million, two weeks. 4. “Madame Web” stayed in places, $3.2 million in 3,116 theaters, $40.4 million, three weeks. 5. “The Chosen: 54 Episodes 7-8,” $3.1 million, weekend, in 2,215 theaters, $3.9 million since opening Feb. 29. 6. “Migration” dropped one place, $2.5 million in 2,204 theaters, $123.4 million, 11 weeks. 7. “Demon Slayer: Kimetsu No Yaiba - To the Hashira Training” dropped five place, $2 million in 1,949 theaters, $15.7 million, two weeks. 8. “Wonka” dropped one place, $1.7 million in 1,732 theaters, $216.7 million, 12 weeks. 9. “Argylle” dropped three places, $1.4 million in 2,283 theaters, $43.9 million, five weeks. 10. “The Beekeeper” dropped one place, $1.1 million in 1,347 theaters, $64.9 million, eight weeks.

Movie box office information from Box Office Mojo as of March 3 is subject to change.

Unreel,

March 8:

“Kung Fu Panda 4,”

PG: Mike Mitchell and Stephanie Stine direct the voice talents of Jack Black, Awkwafina, Viola Davis, Dustin Hoffman, James Hong, Bryan Cranston and Key Huy Quan. in the Action, Adventure Animation film. Po (Jack Black) becomes Spiritual Leader of the Valley of Peace. He trains a new Dragon Warrior. Meanwhile, the master villains are back.

“Cabrini,”

PG-13: Alejandro Monteverde directs Cristiana Dell’Anna, John Lithgow and David Morse in the Biography film. Italian immigrant Francesca Cabrini tries to provide housing and healthcare for orphaned children in New York City. No, this is not 2024. It takes place in 1889. Monteverde directed “Sound of Freedom.”

“Accidental Texan,”

PG-13: Mark Lambert Bristol directs Thomas Haden Church, Carre-Anne Moss and Bruce Dern in the Comedy Drama. A man stranded in Texas and a bankrupt oil driller take on an oil company.

“Love Lies Bleeding,”

R: Rose Glass directs Anna Baryshnikov, Kristen Stewart, Dave Franco, Jena Malone and Ed Harris in the Action, Adventure Crime film. A gym manager falls for a bodybuilder who is on her way to a contest in Las Vegas.

“Imaginary,”

PG-13: Jeff Wadlow directs DeWanda Wise, Tom Payne, Veronica Falcón, Betty Buckley, Alix Angelis, Dane DiLiegro and Taegen Burns in the Horror Thriller. A woman discovers that the imaginary friend at her childhood home isn’t imaginary.

Movie opening information from Internet Movie Database as of March 3 is subject to change.

Two Popcorn Boxes out of Five Popcorn Boxes