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.

I Want You Back Guardians

For the first time in as long as I can remember I have walked into a cinema screen and had fun; pure, unadulterated, uninterrupted fun. From the moment Chris Pratt’s Star Lord bursts into dance at the opening credits until the moment…well the moment he bursts into dance at the finale pretty much. Guardians of the Galaxy might not be the smartest film you’ll see this year or the most powerful but by God it is the one you’ll remember when December rolls round.

Part of the success is that Guardians is the first Marvel movie you can go into without needing any real understanding of the established universe. It’s not a superhero film, it doesn’t feature cameo’s from Mark Ruffulo or make reference to something important down the line. It’s a space opera taking place in a galaxy far, far away and while the influences of Star Wars, Firefly, Farscape and Cowboy Bebop are all too apparent the film has an energy and wit all of its own.

Much of that wit comes in the form of Chris Pratt’s performance as Peter Quill, a human abducted from Earth as a child who, twenty-six years later, is now trying to establish himself as the outlaw Star Lord. His cocksure, space cowboy persona is a fun opening gimmick but watching it get undercut by how little it means is what seals the deal. Quill’s dedication to the pop culture tropes and references of Earth reinforce his tragic characterisation as a kid trapped in a man’s body trying to imitate Han Solo. Make no mistake people Quill is no John Crichton and if his companions fail to get his remarks about The Maltese Falcon or Footloose it’s all part of the gag. 

Of course it’s mostly Star Lord’s that kick of the plot when he retrieves a mysterious orb from a dead planet. The orb is sought by Ronan the Accuser a genocidal manic who wants to use it to destroy his enemy the Xandarians(just get used to the weird names here) and so sends his living weapon Gamora to steal it from Quill. Meanwhile Quill has a bounty on his head that draws the attention of Rocket Raccoon and Groot, a tree-person whose vocab is limited to ‘I am Groot’. In the end they all clash on Xandar and end up in prison where they meet Drax the Destroyer,a bruiser with a score to settle with Ronan. There the five agree to team up, sell the orb and split the cash.

Then things take a turn of formula. Turns out the orb is a planet-destroying weapon and the gang need to put their interests aside for greater good and yadda yadda yadda. Yeah part of Guardians fault is that it spends a lot of time trying to ignore the whole big picture altruism that heroes are supposed to have. So much so that it can’t quite sell everyone’s turn for good when it’s time for the big space battle.

This is largely down to the portrayal of Gamora. Not Zoe Saldana mind, who does a good job of balancing her effortless badassery with the exasperated straight woman role. No the problem is that Gamora has the most significant role in the plot outside of Quill, with her betrayal of Ronan forcing the Guardians together and her horror at the orb’s power the instigator for their last hurrah. This is all fine stuff but it’s never backed up by anything. There’s no destruction of Alderran that drives home the monstrosity of Ronan, no moment for her to reflect that what he could do with this kind of force. Compare this with Karen Gillan’s Nebula who breathes resentment for Gamora and their shared father Thanos the Mad Titan. At the end when Nebula betrays her father for Ronan it’s all too clear why she does this. With Gamora there is no such scene.

Gamora isn’t the only plot contrivance pushing the characters along though. An extended scene with the orbs would-be buyer Taneleer Tivan (last seen after the credits of Thor: The Dark World). Benicio Del Toro gives a delightfully camp performance but can’t escape the fact that he is simply explaining the purpose of the orb for the sake of plot. Thankfully though his scenes provide a new environment for the Guardian’s antics and another colourful action beat.

That’s the thing, significant though they may be the problems with Guardians never overshadows the level of fun, humour and action that the film has. The entire supporting cast is a riot, Dave Batista in particular kills as the entirely literal Drax. While Groot isn’t exactly Hodor the ‘I am Groot’ never gets old and his emotional intelligence paves the way for an incredibly affecting payoff. And look at that I finally managed to get through a Bradley Cooper film without my bum going to sleep. 

Other than that Guardians of the Galaxy is a ride, an energetic exciting ride that begs to be repeated. Yes it’s formulaic but formula can be a great jumping point for inventive action scenes, consistently funny characters and a universe of tricks and toys to be played with. Well worth a watch again and again.