For some, the time they spent in high school is a highlight of their lives. They look back on those days with fondness and nostalgia, rose-colored memories of what it meant to be young with the whole world in front of them.

Now imagine if that person had the last few weeks of that experience snatched away from them by circumstance, only to be given the opportunity to make up for lost time many years later.

That’s more or less the premise of “Senior Year,” the new Rebel Wilson-starring Netflix comedy. Directed by Alex Hardcastle and featuring three credited screenwriters, the film is the story of a young woman who winds up in a 20-year coma after an accident, only to wake up and want nothing more than to finish the triumphant high school career she was mere weeks from completing two decades earlier.

So yeah – adult woman with teenager brain goes back to high school. Honestly, seems like an idea with potential, but alas, said potential is never realized. Instead, we’re left with a film that consistently and constantly plucks the lowest-hanging fruit; the whole thing is packed with lazy jokes and more than a few inherent ethical questions that no one involved seems all that interested in acknowledging, instead choosing to ignore anything but the path of least resistance.

There are a few flashes here and there, where you can see the good movie that might have been made. However, they are VERY few, resulting in a film that never quite manages to live up to its central conceit.

What if the biggest franchise in the history of cinema was given carte blanche to do (and undo) whatever they wanted in the name of storytelling?

That’s essentially what happened with the Marvel Cinematic Universe once the concept of the multiverse was introduced. Basically, the MCU can now do anything and everything it chooses to any character, all with the knowledge that, should they so choose, they can simply handwave it away with one sentence about another universe.

The latest entry in the series (number 28, but who’s counting?) is “Doctor Strange in the Multiverse of Madness,” directed by the legendary Sam Raimi from a script by Michael Waldron. It’s an effort to go deeper into the implications of the aforementioned multiverse and the impact that can be had on it by those who possess both the willingness and the capability to cross from universe to universe.

It’s a sequel to 2016’s “Doctor Strange,” of course, but it also connects directly with an assortment of other MCU properties from both the film and television realms. The film features more horror and horror-adjacent action than other MCU films while also embracing moments of genuine slapstick, both of which are Raimi hallmarks.

However, this is a movie that lost its original writer/director Scott Derrickson midstream … and there are spots where you can definitely see the seams, particularly in the film’s front half. It is busy and a bit confusing at times. And while it’s always advisable to be caught up with previous offerings when you go in, you almost have to have seen a couple of things – “Wandavision” most prominently – to fully understand what’s going on.

Still, the pros outweigh the cons. Benedict Cumberbatch has the snarky charm cranked up, there are a ton of cameos and Easter eggs and Sam Raimi gets to show off the uniquely skewed style and aesthetic that made him famous. It’s a Marvel movie infused with cosmic (and comic) horrors, a combination that results in an engaging, albeit uneven superhero adventure.