When it comes to the new singular movies being released under the Marvel Studios banner, it's become increasingly repetitive in describing just how bizarre the character choices are – at least, in the way that the general public may perceive them. What had initially started as a constant question as to whether or not people would want to see a film about a Norse God, a period piece or the ultimate superhero crossover has grown to remarks on whether a space version of The Avengers or a pint-sized hero heist movie would keep the Marvel trend going (which in turn could be the same commentary towards Fox's 2016 gamble, Deadpool). Naturally, as each MCU movie has been released, those remarks have been silenced with a huge sigh of relief – if anything, only sequels such as Thor: The Dark World and Iron Man 3 have held the gauntlet for fan criticisms – but that hasn't stopped people being worried about upcoming efforts such as Captain Marvel, Black Panther and the newly-released Doctor Strange; a film that delves into the world of magic and mysticism within a universe that already has blends of fantasy, mythology and technology. Strange himself is no stranger to the world of film though, having already received a TV movie in 1987 (an extension of the flourishing Incredible Hulk series of the time) and having spent decades in the dark dimension that is development purgatory. It was only when Marvel retained the rights to the character could work truly begin, with a rigorous casting process that at one point was rumoured to star Joaquin Phoenix of all people as the titular sorcerer, and with horror director Scott Derrickson at the helm one with resume that it would be plain sailing from here on out. But with the world grows increasingly more aware of its flaws, controversy quickly grew over the casting of Celtic actress Tilda Swinton as the usually-Tibetan Ancient One. With white-washing becoming an increasingly important topic, could Doctor Strange's quality be deterred by its own castings?
Stephen Strange (played by Benedict Cumberbatch) is well-remarked as being of the world's top neurosurgeons, and in turn has become a vain and pretentious employee at a hospital residing in New York City. But one dark and rainy night he finds himself in a severe car accident, which caused all the nerves in his hands to be replaced artificially – practically making his life a living hell due to the uncontrollable shaking and failure to find a proper solution. Upon chance, he gets pointed towards Kathmandu in Nepal, where a former paraplegic was apparently cured and is introduced to the world of magic and alternate realities by a hooded figure known only as the Ancient One. Strange's arrival and subsequent training couldn't have come soon enough, though, for a former student called Kaecilius (Mads Mikkelsen) and his disciples are embarking on a dangerous quest to summon the Lord of Chaos Dormammu from the Dark Dimension onto Earth. With allies in the form of fellow student Karl Mordo (Chiwetel Ejiofor) and the temple's librarian Wong (Benedict Wong), Doctor Strange must learn to control his new-found abilities for the sake of saving the world.
Harkening back to the tropes made popular in Marvel's Studios first effort Iron Man and fellow mystic being Thor, Doctor Strange follows the same steps that most of the Marvel introduction movies have made, with a bombastic opening sequence ahead of the meeting of our leading man and the later event that leads Strange onto the path of healing. And just like we see during the cave-based moments of Iron Man, we see a broken version of the man who was once filled with life and purpose. It's here though that we truly jump on board with this film though; while the opening fight is a grand spectacle and likely a visionary experience in 3D, it's this time spent with a character who's lost all meaning that we truly feel for the man we're stuck with for the next 90-120 minutes. This same feeling is replicated when we're formally introduced to the weird new world that Mordo, Wong et al reside in in a huge and bombastic manner, and from there on out it becomes a fun ride with the standard Marvel quirks and one-liners; all leading up to a finale which is more in line with the recent smash Captain America: Civil War than other superhero movies. It is evident that the screenplay is arguably one of the film's weaker aspects, thanks largely to the amount of expository jargon being thrown around willy-nilly, but considering the film's status as being an introductory lesson in not only the characters that surround Doctor Strange but the very world they live in. And it doesn't stop some truly heartfelt moments nearer the end of the film, including a duologue between Swinton and Cumberbatch, nor the whole thing being an entertaining ride.
And what makes that ride oh so thrilling is the blend of director Derrickson's ability as a filmmaker and the visual effects work done by Luma Pictures and Industrial Light & Magic. The LSD-inspired effects are so beautiful and astounding that the feeling of a drug trip is obvious just from the outset. Plenty of comparisons have been made to the similarly insane work done on Christopher Nolan's Inception, and they're aren't wrong in doing so, but on this level it could almost be said that it's even more astounding. It’s certainly a film to see on the big screen and perhaps in 3D, if not for a few moments of uneasiness at the very beginning. It also should be noted that it may not be the best for viewers that suffer from something along the lines of epilepsy, as the fast editing and visuals could cause a negative reaction. On the plus side, Scott Derrickson has a strong control of the camera and his actors during such sequences, whilst the toned down moments are still filled with some level of beauty to be had, whether it be during simple conversations between pairings to big fight sequences that just so happen to include a sentient cape and an imaginary sword. Teamed together with Ben Davis – a recurring cinematographer for Marvel Studios – the duo creates a visually stunning film.
As our leading man, there was, admittedly, trepidation to be had over the casting of one Benedict Cumberbatch. As an actor with a quintessentially British accent and a reliance on picking roles quite similar to one another (Sherlock, Star Trek Into Darkness and The Imitation Game are all fine examples), going for an American superhero with Sherlock Holmes-esque tendencies seemed like a flawed decision. Luckily, Cumberbatch instead delivers a superb performance; coming across as Tony Stark-like in big-headedness but devoted to not killing people like Captain America technically was. His American accent does slip on occasion, but let that slide for the sake of an otherwise great performance. In the same vein is Tilda Swinton, who's time as a despised casting decision can now be proclaimed as ancient history thanks to a stellar performance. As Strange's mentor and ally, she delivers each line with finesse and poise, with praise again going towards her moments with Cumberbatch. Unfortunately, the rest of the cast aren't quite so lucky with their screen time. Rachel McAdam's distant love interest practically disappears for a good chunk of the film and lacks a little of the chemistry desired with her leading man; Chiwetel Ejiofor is a form of reluctant sidekick who seems all too open to Strange receiving the teachings; Benedict Wong is hilarious but also disappears for a good portion of the movie; Michael Stuhlbarg's rival Doctor is a non-entity, and then there's Mads Mikkelsen. Poor Marvel still seems to be suffering when it comes to their bad guys, as the usually intimidating Mikkelsen ultimately lacks in true character or vice. And whilst Dormammu looks great, he's ultimately a living equivalent of a McGuffin that the villain craves for.
Doctor Strange is unlikely to appear on anyone's top superhero film list thanks largely to its usual Marvel formula and some lacking characters, but it will at least be remarked as the most visually-stimulating and bizarre effort to come about. With plenty of fun and laughs to be had and a couple of superb performances, this magical trip to a brand new area of the MCU is worth its admission price – and probably the additional costs for IMAX 3D. 8/10.
Where does one even begin when detailing a film that's predominately known by any who are aware of its existence as the "Daniel Radcliffe farting movie"? Its alienating appearance as an absurd feature has been the question of many a critic since its Sundance Film Festival premiere back in January (where many critics walked out due to how weird it is at the outset), and its public appearances onto the world wide web has made people both perplexed and intrigued. But perhaps what makes the whole idea interesting is the presence of Daniel Radcliffe, who continues to make interesting post-Harry Potter casting decisions in the form of What If?, The Woman in Black and Horns, as the Swiss Army Man in question. It's impressive to see an actor which a long-lasting franchise on his shoulders continue to shave away any suggestions of him being only the Boy Wizard, but to the extremes that this film consists of, it begs the question of whether it was a wise move for the flourishing Brit. Then again, didn't his Potter co-star Rupert Grint appear in Thunderpants?
Paul Dano plays Hank, who when we first see him is contemplating the sweet release of death on a marooned island. He's a mere step away from committing the deed when he spots a man (Radcliffe) lying on the seashore, unmoving. Hank immediately tries to save the poor man's life, until he notices that the corpse is spewing out gas – making for an elaborate way of getting off said island by using the overly gaseous body as a form of jet ski (you can see why people walked out now, can't you?). As time goes by, Hank finds a few other good uses for the cadaver, and as though by magic or by the extreme care that's been given the man begin to talk. From here on out, Hank and the newly-named Manny grow an unusual friendship, as Hank teaches Manny what it means to be alive while Manny's bizarre 'mannerisms' help guide their way back to civilisation.
Once you get past the most strange moment in the opening and the slow-going first steps with just Dano, the journey itself makes for a truly immersive, human, and at times hilarious story about the bond between two men – the socially awkward loner and the motionless carcass that he brings along. While most will likely bring Cast Away to mind, it's instead a much more profound and dare I say creative approach to the simple 'lost man' premise, not least because Wilson the ball is instead a sentient stiff who gets stiff sometimes. But that all being said, and despite a deep and meaningful screenplay by directors Daniel Kwan and Scheinet, what puts the film on a lower level quality to plenty of other films in the same vein (Room best comes to mind in terms of an explorative journey into society) with its disappointing final few minutes. Naturally, the film was meant to end with a certain situation, but the way it's executed and explored leaves much more to be desired, not to mention its somewhat dreariness towards topics that were explored in detail for the majority of the movie. It makes such a fulfilling diminish under its own weight – saving its dead weight for the end, so to speak.
Carrying most of the movie – metaphorically and literally – is Paul Dano; an actor who’s often forgotten about by the mainstream despite the likes of Love and Mercy and Prisoners. When you consider that he spends a lot of the time talking to either himself or a lifeless co-star, he brings about his all in a role which other actors may have overacted or underperformed. Even when things get weird like dressing in drag or helping his carrion get an erection (seriously, it's a major part of the story), he keeps it straight-faced and has fun when he can. Daniel Radcliffe, in the meantime, continues to thrive in his motionless performance that takes an awful lot of effort to perfect. Being used as an object for nearly the entire picture is a daunting task, and with that and his distinctive speech handicap (in that he can barely open his own mouth) creates a living representation of a lifeless form. Outside of the main two, there's also minor appearances from Mary Elizabeth Winstead, who does well with the limited amount she's given.
The directing duo known simply as the Daniels are perhaps best known for their work on music videos such as "Turn Down for What" and their numerous short films, and what they bring to the table here is some beautiful work. Whether it be of their own design or the cinematography of Larkin Seiple, each shot gets a good grasp of the beach and forest environments or even the occasional glimpses of actual society. Teamed together with a superb vocal score by Andy Hal & Robert McDowell – reportedly made before the film even began shooting - and it creates a masterful-looking movie.
Swiss Army Man is a film that I struggle to decide with whether it's great or excellent. On one hand, it has two strong actors at the helm in the form of Dano and Radcliffe, and the overall story feels so inherently human and alive for a film that involves a corpse being used as a harpoon or a sea-doo, but the film ultimately fails to find a satisfying conclusion in what seems to be a failed attempt at creating something cheerful instead of ambiguous like it probably should have been. It's somewhat frustrating that what stops this film from being a true great and one of 2016's best movies (it's certainly one of its best original works) was a middling finale – but at least the journey there was filled with laughs and love. 8/10.
