Doctor Strange or How I Learned to Stop Worrying

Yeah, that joke is probably played out by now but it speaks to an inherent truth about the film itself. Doctor Strange is a flawed, flawed film. In its structure, writing, composition, even (and I cringe at saying this) in the performances of its actors. But to say that is to make the situation sound far worse than it is because Doctor Strange is the first film sin Star Wars: The Force Awakens that a film holds together in spite of its flaws. Perhaps it's a critics thing; the fact is that everything that's good about Strange is the kind of by-the-numbers, playful light show that Marvel has been excelling at for eight years now. The bad stuff is just far more interesting to delve into from a critical standpoint and if you're not interested in critique then it's easy to stop worrying and enjoy the ride. That's OK, it's a fun ride. There's just room to improve it.

A good start would have been the opening. An arbitrary action beat to pump up momentum, which it needs to do since the next 90 minutes will be relatively action-free. It feels like a cynical move on Marvel's part, assuming a goldfish-level attention span on the part of its audience. Especially egregious as the proceeding two acts are infinitely more compelling than any amount of building-shifting CGI. Like all the best Marvel films the plot is driven by character and in Cumberbatch's mangled hands Strange is a character to follow halfway across the world. Admittedly the establishing scenes do wear out their welcome. Character actor Michael Stuhlbarg is always a welcome sight but the film dedicates too much time to him as Strange's pre-crash whipping boy. A clumsy demonstration of the pride that goes before his fall.

Then there's the fall itself. It's no easy feat showing a man with so much losing everything until we have to choice but to sympathise. Ironically the result is as hollow as Strange's luxury apartment, compounded by the token presence of Rachel McAdams' in the role of Christine. Make no mistake, McAdams acquits herself well but it's painfully clear throughout that this character only exists as a sounding board for Strange's emotions and expositions.

No the film never really takes off until an hour in when Strange finally arrives at what is basically Nepalese Hogwarts, for an extended training montage. It's there that the film can really show off it's USP; a succession of visually inventive acid trips/magical mind journeys meant to communicate Strange's journey. Strange's arc harks back to Marvel Phase 1 territory; in which a talented egomaniac finds the means and drive to use their great potential for something good. In this case instead of applying his brilliant mind to saving lives as a neurosurgeon, Strange discovers he can save entire dimensions by applying himself to the mystical arts.

It's here that Cumberbatch endears himself to us. Presenting a man accustomed to being the best in his field now held back by doubt, in both his situation and himself. With each victory bringing a visually unique delight. Delights which only increase as Strange's rebuilds his self-confidence. It's not exactly Neo learning to accept the unreality of The Matrix but rather typical Marvel fun.

Eventually though the film has to build to a traditional climax involving a face-off against Strange's polar opposite. In this case Mads Mikkelsen as the guylinered Kaecilius whoese motivations are typically all-encompassing and vague for a Marvel villain. A rogue pupil of Tilda Swinton's Ancient One, using the mystical arts to summon a malevolent god to bring the universe to a plain of infinite life...and you know what it doesn't matter. By now everyone knows Marvel's terrible track record of villains. Not to mention the fact that their films are more about heroism being an outlet for flawed men (for it is always men) to resolve their personal baggage.

Strange makes that thing clear more than anything as it proceeds to run out the clock with a series of impressive set pieces and effects sequences. Even the heavily promoted shots of New York City folding in on itself ultimately does nothing to move the plot along.

And then there's the ending, a clever piece of abstract thinking in which Strange traps the Dark god Dormammu in an infinte loop of time. Only releasing him if he leaves Earth and takes Kaecilius with him. It's a clever solution but dogged by a hurried execution. There's an opportunity for an entire Groundhog Day of scenes in which Domammu tries to torture Strange into releasing him, then maybe ignoring him, toying with him maybe even reasoning with him. Imagine Strange whining about his relationship troubles to a god who exists beyond space and time. Imagine Dormammu relenting, abandoning his conquest of Earth just to be rid of Cumberbatch. Instead Dormammu just tortures Strange for a few minutes before getting bored. Undermining any power he may have possessed as a villain.

It's an ending indicative of the quality of Doctor Strange; a film full of good ideas that could have been so much better. Cumberbatch cuts himself a distinctive character in a universe already brimming with compelling leads. And despite their lack of impact the various visual effects feel original, fun and inventive. The pieces are all great, just muddled in the way they're put together.

Edge of Tomorrow repeats itself, never repetitive

Edge of Tomorrow is one of those nice little surprises. Not a big surprise like Disney casting aside heteronormative values in Frozen or Cabin in the Woods being a thorough analysis of the horror genre. More of a Lords & Miller 'this actually turned out good?' surprise. On the surface it all sounds terribly derivative; 'Action Sci-Fi version of Groundhog Day? Haven't seen that since Source Code.' The star is the original cocksure, hyper-competent everyman now with a heavy dose of personal baggage which coupled with the rise of brand dominance is just not the box office draw he used to be (just look at Knight & Day, Oblivion). In fact Edge of Tomorrow itself may have fallen victim to Cruise's diminishing star power losing out heavily to The Fault in Our Stars. And yet in spite of all that the film still works as a satisfying blockbuster.

Part of Edge of Tomorrow's success does seem to be down to just how aware it is of Cruise's less than favourable reception among audiences. Beginning the film as military PR-man Major William Cage, promoted over his head for the sole purpose of marketing a futile war against alien invaders in the near future. Cage is slick, disinterested in war, dismissive of the loss of human life and, when told he's being deployed to the frontlines, resorts to blackmail and desertion. So half of the inital appeal is largely due to schadenfraude, watching him get thrown down with rookie recruits, then into a horribly violent warzone to get killed by the aliens and then find out we get to see it all happen again.

See the reason the aliens have been so ably kicking our arses is because certain members of their species have the power to reverse time. When Cage accidentally kills one he absorbs the power and gets sent back 24 hours, which is where the film pretty much runs on video game logic. Soon the battle becomes a question of memorising enemy spawn points to proceed further before dying a resetting. It's not long though before he acquired the assistance of Rita Vrataski (Emily Blunt), a hot-shot soldier whose exploits against the aliens are legendary thanks to previously being stuck in the same loop as Cage.

Watching the evolution of Cage from spineless coward to battle-hardened soldier, thanks to Vrataski is probably the films strongest section. Essentially attempting to write the walkthrough guide to the battle while making Cage capable enough to actually walk through it. There's little in the way of surprises as the solution boils down to eliminating the hive mind that will take out all the aliens Phantom Meanace-style. But the action is exciting and they almost always find something funny or compelling to do with the various deaths. That's perhaps Edge of Tomorrow's biggest achievement, that while it often runs through several of the same scenes and lines over and over again it never feels repetitive. There's always some fresh twist to the each resurrection and it manages to play Cage's learning about the people around him without completely ripping off Groundhog Day.

Props too go to Emily Blunt as Vrataski who in a lesser film would be relegated to exposition-monkey. Here though she managed to give the stone-cold warrior woman enough visceral entertainment value to be fun and enough good timing to even get a few laughs in. I did roll my eyes at the revelation of a dead boyfriend but given she had to experience the trauma repeatedly as Cage now has to do with her it actually provides a nice amount of depth.

Edge of Tomorrow isn't going to change your life but if you're not in the mood for overly-acerbic teenagers dying horribly of cancer it's probably your best bet before the new Transformers comes out. High octane science fiction that'll be best remembered as a fun watch a few years from now.

Cowboys and Aliens

                Cowboys and Aliens is one of those frustrating films to review. First and foremost there's nothing fundamentally wrong with the film it’s. In fact it’s miles ahead of some of the schlock we’ve had passing for a blockbuster this year (not exactly the brightest day for The Green Lantern). From the offset the film drops you right into the old west with Jake Lonergan (Daniel Craig at his leathery best) who wakes with no memory and a hunk of iron on his wrist. You’re invited to share in his confusion and empathise with his predicament as Jake struggles to get his bearings and free himself from his strange new accessory. And the second a couple of eager bounty hunters stumble upon him you realise just as Jake does that just because a bull is startled doesn’t mean it ain’t deadly.

Needless to say it’s a great opening and the film stays on form throughout introducing a variety of western staples, the preacher, the barkeep, the sheriff and the corrupt man in charge Woodrow Dollarhyde (Harrison Ford). Yet none of them ever feel like mere staples of a genre. Jon Faverau has painstakingly recreated the Old West but never allows it to fall to the ridiculous conventions Hollywood used to indulge in. Add this to the rough, down-to-earth performances of a talented cast and the world of Cowboys and Aliens feels real and brutal, giving the film a true emotional resonance when the aliens arrive.

The aliens themselves however are pretty generic. Big hulking trolls that certainly startle but never horrify, you could easily see them in middle-earth or minding the door at the Green Park Tavern. Their technology is suitably huge and greasy for the old west and truth be told the mothership is an impressive sight, though you will find yourself smirking a little at the dragonfly design of the smaller ships.

So why is the film difficult to review despite having so much going for it? Well because it never really does anything with the positive elements to create a true summer blockbuster experience. Jake’s amnesia sets up the man with no name aspect very well but little, if anything, is ever made of it. The film sticks with the adventure and leaves the mystery in the dust meaning that the revelation has neither a significant impact nor any relevance to Jake’s journey from outlaw to hero. Meaning that while the film excites, it fails to uplift.