The Marvel Cinematic Universe has been a boon for movie credits.

Audiences usually head for the exits when the end credits roll, but they stay put during MCU blockbusters. They know they’ll see one more scene, maybe two, between the Costume Designer and Best Boy reveals.

That’s true with “Doctor Strange in the Multiverse of Madness,” and like recent MCU fare, those credits last forever.

It’s exhausting.

The same goes for director Sam Raimi’s return to superhero cinema. The “Spider-Man” author unleashes his signature style in the third act, but until then it’s a CGI magic crush between fan service on steroids.

Benedict Cumberbatch, one of the top MCU casting choices, returns as Dr. Stephen Strange, also known by his superhero name, Doctor Strange. He attends the wedding of his old flame, Christine (Rachel McAdams), but he can’t get rid of the terrifying dreams he has.

And who is the girl with the American-themed denim jacket he’s trying to save in this dreamy state?

What if these dreams were a reality, even if it is not the case in our current universe?

The teenager in question is America Chavez (newcomer Xochitl Gómez), Marvel’s woke character from her Latina heritage to her two moms. She plays a vital role in the new Doctor Strange adventure, which requires so much care in describing its plot that we’ll stop here.

Just be aware that the Scarlet Witch (Elizabeth Olsen) looms large in the story, and a mid-movie section will have Comic Con types quivering in ecstasy.

Or rage. You never really know.

“Multiverse of Madness” stumbles over some intriguing elements, from Doctor Strange’s moral compass to our ability to overcome our weaknesses. Motherhood also benefits from an extended close-up, albeit seen through a distorted filter.

The rest is a vast handbag of CGI and superhero slugfests that are perfectly fine individually, but less engaging when taken as a whole.

It’s a grueling affair, a film that offers brave but predictable laughs between multiverse leaps. Consider a child on Christmas morning spoiled by wealthy parents. What do the filmmakers want us to enjoy next? Eh? Eh?

Even movie sequels need time to breathe, to reconsider the humans at play. Or, at least, take a few beats between spitting reams of exposition.

Raimi’s penchant for wild visuals, think of the “Evil Dead” franchise, seems wasted for much of the film’s runtime. Any MCU director could have looked at past Doctor Strange outings and recreated them like Raimi does here.

That’s not the case in act three, however. Suddenly, the Raimi of old is back in control and a horrifying element enters the frame. It’s exciting and welcome, a way to separate yet another MCU sequel from the rest. But by then, the visual punishment has been going on for a while, which makes Raimi-style flourishes less welcome.

Raimi receives strong support from returning players like Benedict Wong (Wong) and Chiwetel Ejiofor (Mordo), to name a few, but their charismatic presence can only lift a limited amount of material.

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The first 10 years of the MCU delivered great origin stories, jaw-dropping action, and a narrative that led to the arrival of Thanos.

The new wave of MCU films, on the other hand, are always looking for a purpose, a reason to exist beyond the studio’s results. Just when you think “Madness” might discover this mission statement, it disappears…like magic.

Oh, and for the record, between that and “Spider-Man: No Way Home,” we’ve had enough multiverse visits. Thank you!

Hit or miss: “Doctor Strange in the Multiverse of Madness” is both a test of endurance and a treat for MCU fans eager to see the next step in superhero movies.