Controversy erupts as notable critic refuses to pass verdict on Marvel’s latest offering

In the realm of cinematic critique, a storm brews as fans and colleagues alike turn their gaze towards a notable film reviewer who has sparked controversy by declining to evaluate Marvel’s newest creation, Madame Web.

Released amidst the Valentine’s Day fervour on 14th February, Madame Web promised a departure from conventional romance narratives, delving instead into the enigmatic world of Cassandra Webb, a paramedic in New York City grappling with burgeoning clairvoyance.

Under the direction of S.J. Clarkson, the film weaves a tale of empowerment and peril, as Webb embarks on a mission to safeguard three women portrayed by Sydney Sweeney, Isabella Merced, and Celeste O’Connor, from a relentless adversary.

Despite its Marvel pedigree, Madame Web failed to ignite the same fervour as its predecessors, drawing lacklustre anticipation from audiences. Yet, even amidst tempered expectations, the film’s critical reception plummets to unprecedented depths, with a dismal 13 percent approval rating on Rotten Tomatoes.

Critics spared no punches in their scathing assessments, with Kyle Smith of the Wall Street Journal lamenting the film’s collapse with unforgiving candor.

Amongst the cohort of reviewers expected to weigh in on every cinematic release stands Chris Stuckmann, a seasoned veteran revered for his insightful analyses on YouTube. However, Stuckmann’s conspicuous absence from Madame Web’s discourse has not gone unnoticed, eliciting disappointment and frustration from his legion of followers.

In a recent video, Stuckmann addressed the glaring omission, asserting his reluctance to contribute to the culture of disparagement prevalent in contemporary film criticism. “Since I do try to keep it mostly about film celebration on this channel – Having seen the film, I’m going to tell you this is not a movie review of Madame Web,” he remarked, offering insight into his decision.

Yet, Stuckmann’s stance has polarized opinions, with detractors condemning his refusal to critique the film harshly. The ensuing debate has ignited a fervent exchange amongst fans and fellow reviewers, with conflicting perspectives underscoring the complexities of cinematic evaluation in an era rife with divergent viewpoints.

As the discourse rages on, the question remains: in a landscape marred by critical polarization, where does the duty of the film critic truly lie?