Doctor Strange

Superheroes have truly taken over the screen. With an avalanche of titles heading our way and Marvel and DC battling to a never-ending conclusion to make them as profitable as possible, it is fair to say that fatigue is creeping in. Audiences were split over Batman v Superman and Suicide Squad and even Marvel with Captain America: Civil War, while making a good film, struggled to balance the familiar with something new. No doubt eyes rolled amongst some when Marvel and DC presented their upcoming film calendar planned well into the next decade. Seemingly, Doctor Strange (a classic, but odd, character created by Steve Ditko in the early 1960s) seems to follow a similar structure to past Marvel films - a flawed yet likeable lead gaining superpowers after a life changing event and uses them to combat an underwritten villain and establish their place in Marvel's cinematic empire. All this is there but the film pushes itself one step further than lazier origin films by casting a very likeable lead, a Hogwarts-esque setting, good comedy and, most importantly, incredible triply visuals. 

Doctor Stephen Strange (Benedict Cumberbatch) is an arrogant neurosurgeon who is involved in a horrendous car accident leading him to lose control of his hands. Emotionally destroyed, he first seeks the best medical advice in the world only to learn it will be a useless endeavour. He hears a rumour from a former paraplegic who is now able to walk again that there is an ancient technique in the middle of Nepal that could heal his hands (as it healed his body). Dr. Strange ventures to Nepal and meets the Ancient One (Tilda Swinton) who opens his eyes to the multiverse, astral planes and her ability to draw upon its power to create magic. If he could master this art, he could be able to use it to control his hands again. Strange takes up residence in the Ancient One's school (see the Harry Potter comparison) hoping to achieve these goals. However, Strange's lessons are interrupted by the nefarious schemes of Kaecillius (Mads Mikkelson) (who I am just going to call Kae from now on), who is planning on opening the door to the dark dimension, the home of the evil-being Dormammu hoping to unleash him on Earth, in exchange for gifting him eternal life. Strange is forced into his biggest challenge yet as he grapples with his own ego and the fate of the universe...

So the plot and trappings are incredibly goofy. However, the films sells it mostly thanks to Benedict Cumberbatch's performance. Admittedly, I am not the biggest fan of his past performances but he is perfectly cast as Dr. Strange - egotistical, brilliant, funny, cocky, Cumberbatch is able to bring a Robert Downey Jr. vibe to the character whilst also making it his own thing. He is suddenly thrust into a world where people no longer find his corny, Joss Wheadon-quips funny (though there is a great scene involving a wi-fi password - I will say no more). A man of science coming up against the mystic arts is interesting, funny and kind of profound at times, as Strange has to grapple with lure of immortality and letting go of his preconceived notions of the universe. It works really well, surprisingly well! There are some border line schlock moments but these are managed well. What's important is that we are emotionally invested in Dr. Strange's struggle making it all the more satisfying as he comes to accept his place in the wider universe. 

The comedic highlights of Strange come from its secondary characters, especially from a particularly funny turn by the brilliant Benedict Wong, playing the stone faced, newly elected librarian Wong, which is played up for great laughs. Chiwetel Eijfor plays Mordo, a pupil at the Ancient One's school and while not the most special character in the world, he is an effective foil to Strange and does go on a semi-interesting arc. One of Marvel's bug-bears, outside of underwritten villains, is equally under-written love interests. Rachel McAdams does the best she can with the material in the role of Christine Palmer, a fellow doctor, but can't get past the script's fundamental disinterest in her. Which is a complete shame. Bizaarely, one of the most fun 'characters' is Doctor Strange's cape, which feels like Aladdin's Carpet's long lost (and more well tailored) cousin and actually gets one of the biggest laughs in the film - again, I will say no more. 

The casting of Tilda Swinton has been controversial as the Ancient One in the comic is a Tibetian male and now played as being a white Celtic woman living in Nepal. While I will not get into the politics of this casting decision in the this review, it does highlight that white-washing is still a terrible part of the film-industry and is also unfortunately informed by the state of global affairs. That said, it should be noted that Swinton plays the Ancient One as a non-binary character, a massive step forward for gender representation not just for Marvel (who have only just grappled with sexuality - straight and gay! - on the excellent TV series Jessica Jones) but also the film industry. Marvel have been fairly adamant in response to criticism that the gender of the character does not matter and that it is simply in the eye of the beholder. So while on the one hand, yes the decision to white-wash the character does deny a Tibetan actor the chance to take on the role, it is used to at least push another form of positive representation. I'm not saying what should have been the right decision, more taking what I can..In any case, the Ancient One is essentially the Merlin or Obi-Wan Kenobi of the film (which, again, it is rare that this role is played by a woman) and Swinton is clearly relishing the chance to play this role. She opens Dr. Strange's mind to the power of the universe and its endless possibilities, though she is hiding a much darker secret. One of the most effective and philosophical moments comes at the end of Act Two and is about as profound as Marvel can get.

With all Marvel Cinematic Universe properties (bar Loki in The Avengers and Kilgrave from Jessica Jones) the villain is one of the bigger let-downs. Maybe not to the extent of past films, as Doctor Strange and Kae do exchange interesting notions to each other, the villain does feel underwritten to the point of posing no real threat (outside of his evil scheme). Some fans of the comics might be disappointed by Dormammu as well (his design differs greatly to comics and does not have a lot of screen time), however the sequence he is featured in towards the end of the film is one of Marvel's greatest, and most unexpected scenes, which will go down with the likes of Hulk unexpectedly bashing Loki around in The Avengers as one of the classic moments in the MCU. I understand that with an origin film the hero should be the main focus but Marvel needs to work on its Big Bads...

Finally, I want to discuss the visuals of the film. This is easily Marvel's most ambitious film to date in terms of creating new and exciting action scenes. Dr. Strange's initial voyage through the multiverse is like something out 2001: A Space Odyssey for its bright colours and trippy visuals. Better yet, this same ambition is employed during action sequences where Kae and the Ancient One are able to bend reality around them to create three-dimensional mazes out of New York. It is vibrant, inventive and incredibly fun to watch. This becomes even better when Dr. Strange discovers the power to manipulate time. As the sequence moves in reverse (objects, extras etc.), the heroes and villains fight at normal speed. Marvel's doctorate to try something different visually with each film (whilst sticking to a very familiar framework) make them a treat to watch (mostly) and Doctor Strange is no exception. One of the big selling points is its visuals and it does not let down at all. It actually manages to outdo the similar reality bending antics of Inception.

Doctor Strange feels like a very familiar film at this point, especially in the sea of superhero films on the horizon, but its strong central performance, good comedy, fascinating central concepts, hints at existential themes and excellent trippy actions sequences make up for the script's downfalls, which come in the expected places for MCU films. I was ready for a second to maybe even third tier Marvel film but the shortcomings are made up for in the right places, which manages to make Doctor Strange engaging and, more importantly, fun. For the first time in a long while, I'm actually interested in how the introduction of a new hero into the MCU will affect the wider narrative arc of these films. Doctor Strange is another example of Marvel's winning formula to create interesting, engaging and sometimes even thoughtful blockbusters. 

Rating: 8/10

The Innocents

Criminally Underrated 

(a new series in which I highlight and discuss films, TV, music, games or books worthy of your attention that don't get enough time in the limelight)

2. The Innocents

The Innocents is one the greatest horror films of all time. It contains no blood, no monstrous beast or indestructible serial killer to defeat and no jump scares. Instead, it elects to maintain a constantly creepy atmosphere suggesting a disturbing undercurrent to the proceedings. This is the definition of a film that gets under your skin. In this regard, The Innocents' tone and pace are somewhat the coin flip to another classic British horror film, The Wicker Man. While seemingly having little in common, both films choose to maintain a slower pace building up the atmosphere (in The Wicker Man's case, the tone built gets steadily stranger and stranger) to reach unforgettable climaxes. The Innocents is the kind of the film that will leave you ruminating for days after watching.

The Innocents is based on the novel The Turn of the Screw by Henry James. The story follows Miss Giddens, a newly elected governess who has been tasked with looking after two orphaned children in a massive countryside estate. At first, the job seems like a dream. Miss Giddens is instantly taken aback by the younger girl, Flora, but is troubled by news that the eldest boy, Miles, will be returning home due to being expelled from his boarding school. Despite this cloud hanging over him, Miss Giddens is again instantly entranced by Miles. However, there is a dark undercurrent working within the house. Miss Giddens begins to see people that don't belong, perhaps spirits and apparitions? Miss Giddens soon learns that this large house holds many dark and twisted secrets, which seem to centre around the two children. As her own mental psyche begins to unravel the true mysteries of the house begin to reveal themselves.

Martin Scorsese placed The Innocents in a list of the Top Eleven Scariest films of all time. Guillmero Del Toro lovingly referenced sequences and costumes from the film in his celebration of gothic horror, Crimson Peak. While modern, more cynical audiences might call it out on its lack of scares, the film successful builds a tense, entrancing and disturbing atmosphere (with Freudian undertones) which is achieved through several different filmmaking and writing techniques working together. I would call it the film director's horror film. Truman Capote, author of In Cold Blood, contributes the script to director Jack Clayton, a master craftsman. Should I ever achieve one of my life goals of becoming a film tutor, The Innocents will be part of the module I teach on the Language of Cinema. In terms of technique, it is impeccable in its construction. The film perfectly blends stylish and stately cinematography with cutting-edge sound and editing design. This is no more apparent in the film's most famous sequence - the chilling scene in which Miss Giddens views a spirit in the background with young Flora playing in the foreground by a lake. It actually feels like Clayton captured on film a real ghost on screen, only improved by the graininess of the film, the sound of flies buzzing (more on that later) and, oddly, the decision to shot it in the day time, creating a stark contrast between the living and the dead. 

I also feel that Scorsese used an underrated element of the film in Shutter Island - the intentional continuity errors. This creates a dreamlike atmosphere where nothing is at it seems. Miss Giddens walks into Flora's room, with the wide-shot making it clear that no-one is there, with only the window open (generally this technique is used to establish the geography of the scene - how big is the room, what characters are in it, where they are placed etc). Cut to a close up shot of Flora staring out of the window... As Miss Giddens wanders the house at night the candles appear to grow and shrink from shot-to-shot (no doubt due the nightmare of keeping up the continuity of candles melting!). Now these are probably genuine mistakes but they help to give an extra nightmarish layer to the film. Finally, the last element of technique I wish to discuss is the incredible sound and experimental sound design. A genius move to indicate the arrival of the ghosts is the use of a wasp sound, indicating decay and death and that we have entered another world, which is enhanced by the large amounts of silence in the film and lack of musical accompaniment. The only musical piece in the film is diegetic - the children hum or play a simple melody which will become a key part of Miss Giddens uncovering the plot's secrets. 

Deborah Kerr plays Miss Giddens, an educated governess willing to take on the huge challenge of educating and raising two orphaned children. Immediately, her sense of the world is brought under question as she sinks deeper into the mysteries surrounding the house. The performance is believable (in a classic Victorian way) and Kerr wonderfully plays the character's determination to seek the truth (whilst also being vulnerable as she begins to fall for the charms of the children). Like Howie in The Wicker Man, Miss Giddens' faith is put to the test (interestingly, she is the daughter of a preacher) and her perception of reality is constantly under question. The film is an excellent example of how costume can inform us about character. Miss Giddens begins the film in flowery, white dresses, constantly wearing her hat. However, as the film proceeds she begins to not wear it (one of the children ask where it has gone) and starts to dress in black, in sync with her becoming consumed by the mystery that is engulfing the house and her own impending madness (and moving towards looking like the mysterious spirit by the lake).

Both actors who play Flora and Miles are very good but the latter is the stand out. Uptight and privileged, yet charming and intelligent, Miles is the definition of a privileged brat with darker plans bubbling underneath. However that said, the actress who plays Flora does an almost equally good job and also has to perform for what is probably the film's most disturbing sequence. The purpose of Criminally Underrated is to highlight pieces of media that I think don't get enough time in the limelight; as such I will not be discussing spoilers within this review. I say this because the twist surrounding the house, the children and the dark past imply a disturbing undercurrent that highlights the film's strongest attribute to suggest as opposed to show - to discuss the film further I would need to reveal the big spoiler, which I am not going to do. Let's just say that plot takes some very interesting turns and the secrets revealed are fairly ambitious to suggest on screen even now, never mind in 1960. So I suggest you pick up a copy and go on the journey for yourself...

The Innocents remains one of the classiest and well-paced horror films of all time. Its steady pace, innovative filmmaking techniques, excellent acting and disturbing sub-text make it an unforgettable film. Some modern audiences might scoff at the slower pace, ambiguous story and lack of jump scares but those who stick around will find a gorgeous film that uses every trick in the book (and some new ones) to unsettle the audience. What secrets do children keep? The truth might be more unnerving than we realise...

Rating: 10/10

Coraline

Criminally Underrated 

(a new series in which I highlight and discuss films, TV, music, games or books worthy of your attention that don't get enough time in the limelight)

1. Coraline

As a note, Criminally Underrated is designed to highlight works I think need more attention and love. As such, I will not be giving away any large spoilers, as part of the fun is discovering them yourself, and will discuss the film's plot in a general sense. If I do want to discuss spoilers, these will be clearly marked.

Coraline is wandering around the woods surrounding her new home, the pleasantly retro Pink Palace Apartments (having recently moved from Michigan to Oregon - which, as Gravity Falls has taught me, is a state of supernatural mystery). She discovers a mysterious well, which may well lead to another world. Suddenly, out of the woods over a small hill, a skeleton rider screeches into Coraline's view as if out of Mad Max. However, the figure removes his mask and reveals himself to be her socially awkward neighbour, 'Wybie'. Along with its wonderfully creepy opening (in which a spindly figure creates a doll in Coraline's image having literally turned another doll inside-and-out), Coraline's first ten minutes perfectly captures the themes that the film will explore. An adventure into the unknown and duality of character. 

Coraline was released in 2009 and benefitted from an excellent creative team backing it. First of all, the film is a loose adaptation of the Neil Gaiman novel of the same name. Gaiman being the master of reviving fairy tails and ancient legends into modern day trappings. Second, the film was directed and essentially brought to the screen by Henry Selick. Animation fans proudly use this knowledge in pub quizzes; Tim Burton actually did not direct The Nightmare Before Christmas. Having basically overseen all the pre-production prep (the script, the art style, the storyboards etc.), he handed directing over to someone whose skill was stop-motion animation (Burton felt he was not up to the task at the time) - Henry Selick. The classic gothic fairy tale that was Nightmare made Selick a perfect choice to helm Coraline. Finally, production was handed to nascent animation studio, Laika, who have subsequently created animation triumphs in Paranorman and Kubo And The Two Strings. Undoubtedly the modern master of stop-motion animation, Laika continue to push the boundaries of what is possible in the art form. Throwing all this creative energy produced Coraline, a masterpiece of pacing, art design and animation. Better yet, it has a wonderful and often creepy story to follow it.

Coraline Jones is pre-pubescent child who has moved to a new home far from her friends into the middle of leafy Oregon. Her parents are over-worked writers, desperately rushing to complete Dad's gardening catalogue. Add to this, Mum has injured her neck and is prone to irritability due to the pain she is in and the stress she is under. Even stranger, Coraline receives a doll made in her likeness, complete with unnerving black buttons for eyes. Coraline is an adventurous and curious sort and soon begins to discover the secrets hidden within the walls of the apartments (and as a way to escape her distracted and stressed parents - who often take it out on Coraline). She soon discovers a door in the wall, which at first seems to lead nowhere but later reveals itself to be the entrance to another world. An alternative reality of her home, complete with perfect idealised versions of her parents (dubbed Other Mum and Other Dad). With no stress or worries, they lavish all their attention and love onto Coraline. There is a sense of underlying menace here though, as Other Mum and Other Dad have black buttons for eyes (similar to the doll)  but Coraline soon becomes infatuated with this world. However, she begins to uncover the true nature of this world and the frightful reality of the task she has to complete when her real parents go missing..

One of Coraline's greatest strengths is its pacing. The films moves at a slower pace, especially in comparison to other children's films, however this gives the viewer time to orientate to the world and the mystery surrounding it. We are given time to be introduced to all the residents of the apartments, who will subsequently help Coraline on her journey (these being former starlets Ms. Spink and Ms. Forcible who dwell in the basement apartment and the eccentric Russian acrobat Mr. Bobinsky - voiced by Ian McShane, who gave one of my favourite performances of all time as Al Swarengen in HBO's classic Western TV series, Deadwood). This also allows time to establish Coraline's character and her relationship with her parents, in particular her mum. She is independent, charming and funny yet head-strong and prone to impatience and irritability. Basically, a full fleshed out character befitting of someone her age making her an excellent lead for the film. Dakota Fanning voices her in a great performance which brings out all these different elements at the right time. The film can have its scary moments (nothing too intense but maybe enough to rattle some children) however if the central character is strong, than this is something children can latch onto to get them through. This is all helped by the excellent musical score and sound design. Coraline is actually a very quiet film, with a limited sound design. However, this allows moments and scenes to have real impact. The soundtrack also reflects this and helps to maintain a charming atmosphere with a creepy undercurrent (fortunately, Danny Elfman was not brought on board...).

The real world has a grey, autumnal art style, giving a sense that the apartments have seen better days, almost as if all the warmth has been sucked out of the world (which I imagine is how Coraline is feeling). Contrast this to the Other World, which is warmer and more welcoming. Bright, rich reds and powerful lighting. Coraline encounters strange new supernatural beings, exaggerated building designs, talking cats and much more. The subtle art choices here highlight the power of good art design in film and help to bring the film's theme of duality to the fore-front. All this is only possible in animation. Stop-motion animation is a true craft, requiring time and patience but can create worlds unlike any other - and it has never looked as gorgeous as it does in Coraline, giving a loving and hand-crafted feel to the film. Selick is truly a master of gothic-fairy-tale art style and knows how to correctly apply designs to create meaning and emotions. 

Coraline meets Other World versions of all the characters she has come to know in the real world (complete with black buttons for eyes), only here they are free from their regular lives and past experiences. However, things are not as they seem and these perfect versions that Coraline is at first entranced by reveal to be something much darker and sinister. Real people are flawed and there is no such thing as a 'perfect' person. a good example of this as expressed in the art design of Mr Bobinski. A former acrobat who still tries to train has long skinny legs and arms but also has a large beer belly. A sign of what he used to be and where he is now. We are all trying to work through life and its the connections we make with others that help to create meaning and get us through. Coraline learns this lesson over the course of the film coming to terms with her imperfect parents, learning to love them and understand them for who they are. 

I feel Coraline is often forgotten about in the list of modern animated classics and its hard to pinpoint why. It is overflowing with ideas, has a great central character and a lovely pace that allows all the different elements chance to breath. It could be the film's scarier elements that turn more conservative parents off or it could be in the way the film is designed. Its understated and dream-like pace sucks you into its world and is in no rush to reveal its hand. With all the bombast of Illumination studios (with little substance) and the big emotions of Pixar, Coraline's understated style may explain why it is often neglected. Its happy being its own thing and the individuals who discover the film become just as enraptured and wary for the adventure ahead, just as Coraline must feel entering the Other World for the first time..