Technology

Madame Web is a love letter to the golden age of bad comic book movies

Published

2 years ago

February 14, 2024

Madame Web is a love letter to the golden age of bad comic book movies

The funny thing about watching audiences cool off from big-budget comic book adaptations in recent years is how, if you lived through the very early aughts, it almost feels like things are going back to the way they used to be. After years of Marvel tentpoles dominating the box office, it’s been easy to forget how unabashedly unserious these kinds of projects usually were outside of the handful that put the genre on the map.

But before the rise of the MCU, Bad Comic Book Movies™ — projects that didn’t take themselves or their source material all that seriously — were generally the rule rather than the exception. And while they might not have been great, they were the sort of films audiences knew how to have fun with.

It’s only since multiverses became the hot new thing in Hollywood that studios have gotten comfortable even acknowledging (and capitalizing on people’s nostalgia for) those halcyon days when Spider-Man’s webbing was organic. But unlike some of Sony’s other recent Spider-Man features which have been more focused on bringing specific characters and actors back from past franchises, director S. J. Clarkson’s Madame Web is far more interested in revisiting a specific moment in comic book movie history — one defined by iffy costumes, perplexing plots, and a palpable sense of on-screen embarrassment.

Set in a curious pocket of Sony’s larger Spider-verse of films where it’s still 2003, and Spider-Man himself doesn’t exist, Madame Web tells the tale of Cassandra Webb, an acerbic paramedic whose life takes a series of strange turns one day when she (briefly) dies while saving a man’s life. As an adult orphan whose mother died in the Amazon while researching spiders, Cassandra has a hard time connecting emotionally with anyone who isn’t her colleague Ben Parker (Adam Scott), or the stray cat that regularly wanders into her New York City walkup.

But after a routine emergency rescue leads to Cassie plummeting to her death, she awakens to find herself imbued with an ill-defined set of precognitive powers, and while she has no idea what to make of her alarming visions, it soon becomes clear that they’re all guiding her toward a trio of young girls.

Disorienting exposition dumps in a film’s opening act are almost always a warning sign, but the way Madame Web clunkily juxtaposes a flashback to Cassandra’s past with glimpses into her charges’ futures almost makes it feel as if the filmmakers are trying to keep you from understanding what’s going on. Though his motivations are unclear, it’s simple enough to grasp in Madame Web’s first few minutes that perpetually barefoot explorer Ezekiel Sims (Tahar Rahim) is eager to kill three masked women wearing spider-themed superhero costumes. It’s clear Madame Web wants you to wonder who Sims’ targets are, and why they don’t just use their powers to stop him in his tracks.

But instead of teasing their identities out, the movie just dumps Julia Cornwall (Sydney Sweeney), Mattie Franklin (Celeste O’Connor), and Anya Corazon (Isabela Merced) into Cassandra’s lap about half an hour in at a point when there are already too many other things going on.

Sony’s plan to build out an entire cinematic universe on just the Spider-Man IP alone has always felt a bit dubious, but in Madame Web’s younger leads, you can almost see how the plan could work. Similar to Cassandra, the girls have all been orphaned (at least emotionally), and they need someone to guide them through the madness of being teenagers.

You can also see how the girls’ thinly fleshed-out personality quirks might one day make them an interesting team of Spider-Women, and how Madame Web’s really a story about Cassandra stepping into her role as a mentor to a quippy new generation of heroes. But as present as that narrative intention is, the film doesn’t really set its characters up to feel like real players in a cohesive story, and the girls wind up being pushed into the background — first as they’re introduced as out-of-focus extras in the periphery of Cassandra’s story, and later as she takes the girls under her wing to protect them from Sims by… ditching them in the woods.

Between its frantic set pieces in which the camera lens can never seem to decide where it wants to focus, and the way Madame Web’s script briskly bounces between scenes, it’s obvious that the filmmakers are trying to make you feel some of the deep discombobulation Cassandra herself is experiencing. Even though the execution is more than a little off, it’s a clever idea, and to the movie’s credit, Cassandra’s visions of being murdered by a knock-off Spider-Man are pointedly disturbing. But as much time as Madame Web spends telling you that Cassandra’s terrified for her and the girls’ lives you’d be hard pressed to get that impression from Johnson’s deadpan performance and the way she portrays her character as someone who approaches most situations with a pronounced sense of apathy.

When you look at Madame Web as a modern comic book movie — one crafted with the knowledge of how much money these things can make — it’s hard to understand a lot of the choices that were made. But the film makes a hell of a lot more sense when you think of it not just as a movie set in 2003, but one that’s trying to evoke the vibes of comic book movies from that era. The signs are there pretty much from the jump, but it isn’t until Mis-Teeq’s “Scandalous” is dropped in during an action sequence that it becomes shockingly obvious how much Madame Web has in common with the 2004 Catwoman starring Halle Berry in terms of both films feeling like doomed misfires from the very beginning.

Rather than any of Sony’s previous Spider-Man spinoff films, the confusing way Madame Web reworks Julia, Mattie, and Anya’s origins makes the movie play much more like something out of the era that gave us the first Daredevil movie and Fantastic Four: Rise of the Silver Surfer. People like to look back on that point in superhero movie history fondly now because enough time has passed for those films to shift into cult classic territory. But the simple truth is that, for quite a while, big budget cape projects missed as often as they hit, and with Madame Web technically being a follow-up to Morbius and a precursor to Kraven the Hunter, it’s fair to say that Sony’s definitely returned to that time.

Madame Web also stars Mike Epps, Emma Roberts, and Zosia Mamet. The film is in theaters now.

Technology

Apple’s website leaks MacBook ‘Neo,’ which could be its new cheaper laptop

Published

53 minutes ago

March 3, 2026

Press Room

Apple’s website leaks MacBook ‘Neo,’ which could be its new cheaper laptop

During Apple’s week-long product launch event on Tuesday, a listing for the “MacBook Neo (Model A3404)” appeared on a regulatory compliance page on Apple’s website under its line-up of 2026 MacBooks. First spotted by MacRumors, the listing appears to be an accident and has since been removed, but may have been a leaked reference to a rumored entry-level MacBook. Unfortunately, it didn’t include any additional details beyond the device’s name and model number.

The lower price and an “entirely new design” could help the new MacBook appeal to students and casual users, competing with Chromebooks and low-cost Windows laptops. A more affordable MacBook could be especially appealing after Apple announced the M5 MacBook Air on Tuesday, which has a higher starting price than last year’s Air.

Technology

China’s compact humanoid robot shows off balance and flips

Published

1 hour ago

March 3, 2026

Press Room

China’s compact humanoid robot shows off balance and flips

NEWYou can now listen to Fox News articles!

Humanoid robotics companies have already shown their machines can run at 22 mph, land backflips and even pull off front flips. So the new proving ground is not raw speed or acrobatics. It is control when something unexpected happens. That is where the EngineAI PM01 humanoid robot comes in.

In newly released footage, the compact humanoid keeps dancing after being deliberately pushed off balance. It performs a controlled forward slip, absorbs the disruption and smoothly regains rhythm within seconds. The motion looks fluid and surprisingly natural.

Then it lands another front flip, this time as part of a broader demonstration of balance and recovery.

Sign up for my FREE CyberGuy Report
Get my best tech tips, urgent security alerts and exclusive deals delivered straight to your inbox. Plus, you’ll get instant access to my Ultimate Scam Survival Guide – free when you join my CYBERGUY.COM newsletter.

EngineAI pushes back on CGI skepticism as its PM01 humanoid robot demonstrates controlled recovery and dynamic motion. (Liu Lihang/Xinhua via Getty Images)

EngineAI PM01 humanoid robot shows advanced balance control

Speed gets attention. Recovery earns trust. When someone shoves the PM01, it does not freeze. It recalculates its center of mass, adjusts joint torque and corrects posture in real time. That level of control depends on tight coordination between sensors, actuators and AI algorithms. The front flip adds another challenge.

Front flips are typically harder than backflips. Rotating forward shifts the body weight ahead of the support base. That makes landings less forgiving. The EngineAI PM01 humanoid robot executes the move with coordinated arm swing, core stabilization and accurate landing mechanics. This is not about flashy tricks. It is about controlled dynamic motion under stress.

Why the compact size of the EngineAI PM01 matters

The PM01 stands just under 4 feet tall. That smaller build works to its advantage. A lower center of mass reduces tipping risk and requires less rotational force during flips. Its lighter structure also helps distribute impact forces more efficiently when it lands.

By comparison, EngineAI’s larger SE01 stands about 4 feet, 6 inches tall and weighs 88 pounds. The PM01 is roughly 10.5 inches shorter and about 17.6 pounds lighter. That size difference makes it more agile in research and development settings.

Full-sized humanoids face greater mechanical stress during high-impact maneuvers. They need stronger actuators, reinforced joints and heavier structural support to stay stable. Compact robots like the EngineAI PM01 can achieve advanced movement with less overall strain.

CHINA’S ROBOTICS GIANT PUTS 200 ROBOTS TO THE TEST

The PM01 robot stands on display at EngineAI’s robot retail flagship store in Shenzhen, Guangdong Province of China. Newly released footage shows the PM01 humanoid absorbing a push and recalculating its center of mass within seconds. (VCG/VCG via Getty Images)

AI hardware powering the EngineAI PM01 humanoid robot

Under the hood, the EngineAI PM01 humanoid robot combines advanced perception with serious computing power. It uses an Intel RealSense depth camera for visual awareness and spatial mapping. A dual-chip setup integrates Nvidia Jetson Orin with an Intel N97 processor. That architecture supports real-time AI workloads and rapid balance correction when the robot is pushed or slips.

The robot features 24 degrees of freedom, including 12 joint motors. This design allows smooth coordinated movement across its limbs and torso. In the small humanoid segment, PM01 competes with models like the Unitree G1 and the Booster T1. It walks at up to about 4.5 miles per hour, faster than the T1, though still below some larger high-speed humanoid platforms built for sprint performance.

EngineAI appears less focused on headline-grabbing speed and more focused on refined stability and controlled motion.

EngineAI pushes back against CGI claims

As humanoid videos go viral, skepticism follows. EngineAI recently addressed CGI accusations by releasing footage of its T800 humanoid physically interacting with its CEO. The company clearly wants to demonstrate that its robots operate in the real world.

That credibility push matters. In a crowded robotics market, bold claims are common. Physical demonstrations help separate engineering progress from digital effects.

WARM-SKINNED AI ROBOT WITH CAMERA EYES IS SERIOUSLY CREEPY

The nearly 4-foot-tall EngineAI PM01 uses AI-powered sensors and joint motors to recover from slips and continue moving. (VCG/VCG via Getty Images)

What this means to you

Right now, this looks like a polished demo. However, balance and recovery are critical for real-world use. If humanoid robots are going to work in warehouses, hospitals or our homes, they must handle bumps, slips and unexpected contact without causing damage. A machine that can brace itself, fall safely and stand back up is far more practical than one that performs a single choreographed stunt. As humanoids move closer to everyday environments, resilience becomes just as important as athletic performance. The more stable they are, the more comfortable people will feel sharing space with them.

Take my quiz: How safe is your online security?

Think your devices and data are truly protected? Take this quick quiz to see where your digital habits stand. From passwords to Wi-Fi settings, you’ll get a personalized breakdown of what you’re doing right and what needs improvement. Take my Quiz here: Cyberguy.com.

Kurt’s key takeaways

Humanoid robots can already run fast, flip and move with serious athletic ability. What companies are racing to perfect now is something more practical: balance when things go wrong. The EngineAI PM01 humanoid robot shows how compact design and real-time correction can help a machine stay upright, recover quickly and keep moving without chaos. That kind of control matters far more in a crowded warehouse, hospital hallway or public space than a perfectly staged stunt. We are starting to see the shift from viral demo moments to robots built for everyday reliability. The real breakthrough is not the flip. It is what happens after the push.

When humanoid robots can absorb a shove, land a flip and get back to work without missing a beat, how close are we to seeing them in your neighborhood? Let us know by writing to us at Cyberguy.com.

CLICK HERE TO DOWNLOAD THE FOX NEWS APP

Kurt “CyberGuy” Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on “FOX & Friends.” Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Technology

Anthropic upgrades Claude’s memory to attract AI switchers

Published

13 hours ago

March 2, 2026

Press Room

Anthropic upgrades Claude’s memory to attract AI switchers

Anthropic is making it easier to switch to its Claude AI from other chatbots with an update that brings Claude’s memory feature to users on the free plan, along with a new prompt and dedicated tool for importing data from other chatbots. These upgrades could allow users who have been using rivals like OpenAI’s ChatGPT or Google’s Gemini to quickly copy the data their preferred AI has collected on them and bring it over to Anthropic’s chatbot. That way, they don’t have to “start over” teaching Claude the context and history their previous chatbot already knows.

The option to import and export memories from Claude has been available since October, when Anthropic also rolled out the option for users to turn on Claude’s memory. Up until now, the memory feature was only available to users on paid Claude subscriptions, but now all Claude users can turn it on by going into “settings” then “capabilities.” This menu is also where users can find the new memory importing tool, which has users copy a pre-written prompt into their previous AI then copy the output from that prompt back into Claude’s importing tool.

Anthropic is introducing the upgraded memory importing tool as Claude is seeing a rise in popularity, driven by tools like Claude Code and Claude Cowork. Last month, Anthropic launched its new Opus 4.6 and Sonnet 4.6 models, which the company says are better at coding and completing complex tasks like working through a spreadsheet or filling out forms.

Anthropic has also been experiencing a spike in attention recently after pushing back against demands from the Pentagon to loosen the guardrails on its AI models, with the company stating publicly that they drew “red lines” around mass surveillance and fully autonomous lethal weapons.