Doctor Strange

I know that this review is a little late, but get excited kids, its finally here. The film that caused so much controversy in its decision to cast Bananapops Cucumberpatch (we all know who I’m talking about) as the title character that many fans revolted against it before even seeing a trailer. Before we pull at that thread and this review unravels completely into a lesson about whitewashing, let’s talk about the film as a whole. To be honest, I was actually really excited for this film after seeing the trailer. The special effects, the magic, the…oh who am I kidding, I’m really only seeing this because I’ve been harbouring an all consuming love for Mads Mikkelson ever since that first season of Hannibal. Anyway, let’s move on.

Doctor Stephen Strange (Benedict Cumberbatch), a young neurosurgeon with a penchant for pushing the boundaries within his work, has been living a life of constant success: he’s recognised as one of the best in his field, is well respected, and although he has a reputation for being a bit of an ass, he is skilled enough to save lives at the drop of a hat. He has just one small problem: his people skills. Steven Strange’s world revolves around himself and his work, and nothing more. However, his entire life is shattered (literally) when he is gravely injured during a car accident, leaving his hands with severe nerve damage and being faced with the possibility that he may never practice medicine again. Unable to cope with merely accepting his fate, Steven searches the world for a cure. But what he discovers in a remote corner of Kathmandu is the world of the Ancient One and her teachings, a practice that reaches far beyond his imagination could ever fathom. Facing a challenge that threatens the earth and beyond, he will have to overcome more than his cocky personality to reach his true potential and prove his worth.

The positives: I know that I’ve said this about a few films this year, but Doctor Strange is a really good time. Tilda Swinton’s wise and surprisingly funny Ancient One balances Strange’s harsher personality well, with the supporting cast of Chiwetel Ejiofor, Mads Mikkelson, Benedict Wong and Rachel McAdams providing the perfect foils for Strange’s in a variety of ways. These actors are talented and clearly had a great rapport off screen that was evident in the film. The comedy was timed well and the jokes landed (easily noted by the audience in the screening I went to) but above all the visuals were stunning. Think Inception meets Iron Man meets Harry Potter, the different universes and settings this film gives its audience is an eyeful that really helps to immerse us into the realm of the Masters. I felt that my money was well spent on that alone. This film shows how you can balance darker themes of loss and loneliness with humour and dignity (take note DC), and reminds us that even at our lowest there is always something that makes life worthwhile.

The negatives: I’ll be honest here, if you’re not a fan of Tony Stark or his character arc or progression, you’re not going to like Stephen Strange as this story is surprisingly similar. I also felt that Mads Mikkelson’s character, the villain Kaecilius (Kai-sill-ee-us), wasn’t used enough and could’ve had more screentime (I’m not being biased I swear) in order to help explain his backstory which is mostly done through other characters. Also, I felt that the pacing was a little off in this film: not nearly as bad as the pacing in Suicide Squad, but this film tended to have the same vibe in that it was trying to pack a lot of information into one relatively short film, meaning that we were shunted through a vast amount of story and locations very quickly without enough time to properly understand what we were seeing. But now for the cherry:

Remember how I mentioned we were setting aside the whole whitewashing thing at the beginning of this review? Well its time to bring that chestnut back. Yes, the film as a whole was good and enjoyable. Yes, the acting was also great and the characters were entertaining and fit the film well. But fans of the character had a right to be angry, and just because the film was good, that doesn’t negate the importance of ‘why’ they were and still are angry. To be completely honest, as a South American person, I can’t blame them. Whitewashing is still a problem today and is seen time and time again in Hollywood, from The Last Airbender (2010) to the shock that was the live action Mulan’s first leaked scriptnotes just a few weeks ago. To act like its not insulting to the characters and their creators would be doing those characters a disservice. I’m not saying we all have to openly hate this film. I understand that for some people, seeing their favourite character/s of Stephen Strange and The Ancient One brought to life on the big screen is a huge deal. But what I am saying is that it would be wrong to just ignore the facts. In today’s society where voices speaking out against oppression and racial prejudice are louder than ever? Come on Marvel. If you can make the entire cast of the upcoming Black Panther movie completely African American as per the comics, you could’ve taken the time to put the same thought and planning into Doctor Strange and maybe saved a lot of fans’ disappointment.

In the end, Doctor Strange is a fun and entertaining movie that people of all ages are gonna love. Its got comedy, action and great characters to boot, and it’ll be fun to watch this character saddle up alongside our other favourite superheroes in the upcoming Infinity War with Thanos (which gets closer by the movie). Also, the end credits scene will be a hit with Loki fans everywhere (is that too much of a spoiler? Oops). All in all, whether you’re seeing it in the movies or illegally downloading a copy, you’re in for a good time.

A Bigger Splash

Luca Guadagnino's latest film A Bigger Splash is somewhat ambitious in what it is trying to achieve. Guadagnino is known for his sweeping dramas and this film does follow his usual style, but on a much smaller scale. However, he attempts to surprise audiences with a sharp right turn, which is something that I don't think works to the film's benefit.

Marianne Lane (Tilda Swinton) is a rock star taking some time off after undergoing throat surgery. She is relaxing on the Italian island of Pantelleria with her documentary filmmaker boyfriend Paul (Matthias Schoenaerts) when she is intruded upon by old friend Harry (Ralph Fiennes). Harry has also dragged along his daughter Penelope (Dakota Johnson). Soon Harry has imposed himself upon the couple and is causing tension as he wishes to start up an old relationship with Marianne, which angers Paul to no end.

Up until two-thirds through the way of this film I was entirely on board with what was going on. I really enjoyed the dramatic tension that was happening throughout. But then at the end of the second act, one of the main characters is killed off. I am totally okay with this too, but what I found was that I wasn't entirely convinced by the reason for why it happened and I felt as though there could have been other stronger ways that it could have been presented. This totally changed the whole dynamic of the film to a thriller, but one where the stakes weren't that high. As a result I wasn't really concerned for any of the characters and if they would get out of it unscathed. It did lead to a great revelation however, one that has some pretty nasty implications.

Guadagnino has written some fantastic characters that are portrayed superbly. Top of this list is Ralph Fiennes. While he has played some truly reprehensible characters (a crime boss, a sadistic Nazi, the Dark Lord), I found his character of Harry to be the worst he's ever played. He is the kind of person who you just want to punch if he ever turned up in your life. But the reason he is so good is because he is so incredibly charming and intoxicating to watch. Tilda Swinton has been a long time collaborator with Guadagnino and their working chemistry really shows. She is also stunning to watch because as she barely speaks in the film, all of her performance is done through her physicality. Matthias Schoenaerts' performance straddles a fine line between main and supporting because he doesn't have the screen presence of Fiennes, but at the same time he's very good and important to the story. I want to say Dakota Johnson is good, but she doesn't do very much. However, she gives a better performance than all her previous work combined.

Despite the strange turn in the film, A Bigger Splash is a fantastic drama that is heightened by its small, vibrant cast.

Hail, Caesar!

The Coen brothers have been making movies for over thirty years, making classics like Fargo, The Big Lebowski and No Country For Old Men. These movies leave you with one feeling above all; satisfied. Their latest movie, Hail, Caesar!, feels more like the fast food version of one their films, it feels good while you're watching it, but later you wonder if you really needed it after all.

Eddie Mannix (Josh Brolin) is the head of production for Capitol Pictures. He is also a 'fixer' and helps get movie stars out of sticky situations. One of these situations arises when the studio's biggest stars Baird Whitlock (George Clooney) goes missing when he is shooting a biblical epic about Jesus. Meanwhile he has to deal with an array of problems on the studio lot, including Western star Hobie Doyle (Alden Ehrenreich) moving to a more dramatic role where he clashes with director Laurence Laurentz (Ralph Fiennes) over directing choices and the pregnant actress DeeAnna Moran (Scarlett Johansson) has to search for a father for her unborn child. Floating in the background are the Thacker sisters (both played by Tilda Swinton), rival gossip columnists who are on the prowl for the latest Hollywood scoop.

Hail, Caesar! is a glowing tribute to the Golden Era of Hollywood. The Coen's parody an array of movies and stars from this period, including Kirk Douglas and Charlton Heston, costume dramas, westerns and musicals. In fact there is a fantastic extended song and dance number by Channing Tatum which is a joy to watch. The subject of communism in Hollywood is broached upon, but it is in a rather lighthearted way. The blacklisted writers are shown as diehard followers of the cause and will even help people defect to Russia. This movie is also a defence for anyone who loves cinema. The Throughout the the film, Mannix is repeatedly targeted by the jet company Lockheed, whose representative implores him to leave the movie industry behind, calling it silly and frivolous. Ultimately Mannix sticks with the industry because he loves.

Josh Brolin's Eddie Mannix is a strong central character. He embodies the no-nonsense studio exec who relies on things to run on clockwork perfectly. Brolin has enough range to do serious and character roles like this one. He isn't taking himself too seriously, which suits the role amazingly. All the characters apart from Mannix don't get too much screen time, but the actors who play them leave a mark. George Clooney who I think of as quite a strong figure in Hollywood, plays the stereotypically cowardly and bumbling movie star. Alden Ehrenreich gives a funny performance as Hobie Doyle, as he struggles to give the articulation needed for more dramatic roles. Ralph Fiennes also gives a hilarious performance as his over-the-top English director. Channing Tatum and Scarlett Johansson both have extended musical numbers in which they are great.

I did leave Hail, Caesar! feeling slightly empty, like I hadn't really taken anything away from it. But as I look back on the film, it is filled with enjoyable tidbits and cameos that will keep you enjoying it for days after.

Trainwreck

Judd Apatow's last few movies have been getting a tiny bit more serious than his earlier films. Trainwreck (based on an autobiographical script by comedienne Amy Schumer) straddles a fine line between being a serious and silly comedy.

Amy (Schumer) is taught a valuable lesson by her father Gordon (Colin Quinn) when she is younger: the idea that monogamy is outdated and doesn't work. Flash forward twenty years and Amy still follows this rule, sleeping with as many guys as possible, despite dating gym-junkie Steve (John Cena). Amy works for men's magazine S'nuff and is assigned the job of writing an article about sports doctor Aaron Connors (Bill Hader), with whom she has her first serious relationship. Confused by her feelings, she looks to her younger sister Kim (Brie Larson) for guidance.

Schumer definitely brings her own brand of comedy to the table here. Her TV series Inside Amy Schumer questions the gender pigeonholing that takes place in society and in a way Trainwreck follows suit, although taking a more autobiographical tone and mixing that with Apatow's mass appeal filmmaking. The movie does make a decent attempt to ask why can't women go and sleep with as many guys as they want in the same way men do. However, this attempt only makes up the first third of the film. The remainder seeps into typical rom-com territory, with Amy eventually succumbing to the archetypical female in a romantic comedy. In fact the entire second half of the film is pretty by the book in that regard.

Overall however, the film is pretty funny. Schumer isn't as crass as Melissa McCarthy but finds the right balance of dirty jokes, as well as jokes about her ineptitude with sports (sports being a major part of this movie). The film also has one of the funniest funeral scenes I have seen outside of Death at a Funeral. The film also handles its more tender moments with grace.

The performances are a bit of a mixed bag. Schumer does an okay job at taking the lead role, but the best parts for me were Colin Quinn and basketball player LeBron James. Quinn brings his usual acerbic dry delivery to the role, making Amy's father Gordon a memorable character. James plays against how you think he would be in real life, super protective of his friend Aaron's feelings and a bit of a sensitive soul. British actress Tilda Swinton is extremely unrecognisable as Amy's boss Dianna, all fake tan and hair done up. It's actually quite a remarkable thing to see if you are a fan of her work. Hader isn't at all trying in this film, instead letting Schumer take the limelight. Brie Larson has also done better elsewhere.

There are some great smaller supporting roles and cameos. Mike Birbiglia plays Amy's brother in law who annoys her with his extremely submissive personality. Randall Park hilariously plays one of Amy's colleagues and Ezra Miller is also funny as the office intern. There are some great cameos by Matthew Broderick, as well as Daniel Radcliffe and Marisa Tomei who both appear in a film within a film called The Dogwalker.

Although it could have been better in terms of its structure, Amy Schumer's first foray into feature film writing is pretty funny and enjoyable to watch.

The Grand Budapest Hotel

If there has ever been a more esoteric film, The Grand Budapest Hotel is it. All the fans of Wes Anderson's films will immediately pick up on the formalities of his work and enjoy the film immensely. But don't think that if you haven't seen any of his films previously that you won't see it because you'll be missing out on some larger picture. Rather, it is a great introduction to his world. I think that may have to do with Ralph Fiennes, who comes fresh to the films of Wes Anderson.

Indeed, the majority of the film falls on the more than competent shoulders of Fiennes. This film, however, is a huge departure for him as he usually plays insidious characters (Harry Waters in In Bruges, Amon Göth in Schindler's List, Voldermort in the Harry Potter films). He plays Gustave H., the bubbly concierge at the titular hotel, where he wines and dines many of the older female clientele. One such guest, Madame D. (the wonderfully enigmatic Tilda Swinton), ends up being murdered and Gustave is the prime suspect. This is after he becomes the most profitable recipient of Madame D.'s will.

To help Gustave clear his name is the young lobby boy Zero Moustafa. He is played by the talented young Tony Revolori, for whom this is his first major role. He and Fiennes make an excellent comedic duo playing off each other perfectly and you can feel as though the role of mentor that Fiennes takes up must have spilled over to reality.

A lot of the humour in the film comes in very punctuated moments that are both absolutely absurd and shocking. But there are a lot of jokes that are very quick and funny, mainly quips spouted by Gustave, a lot of them to do with poetry or advice for young Zero.

Of course there are a huge number of other people in this film. F. Murray Abraham plays an older Zero and gives the film some of it's more emotionally insightful moments. Adrien Brody's foul-mouthed Dmitri also gives the film some more comedy as his swearing at times seems completely unwarranted (I should know).

From a technical standpoint this is a fun film to watch. Anderson's trademarks of models and fixed camera angles are all here, but the the most enjoyable thing about the film is that it's aspect ratio changes throughout the film. This has largely to do with the fact that the film is a series of flashbacks piled on top of each other.

Verdict: A hugely enjoyable film for everyone to watch. It is fantastically funny and at the same time has some beautifully reflective scenes. Watch out for the Schindler's List reference toward the end.