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Film Review: Dying LaughingFan The Fire Recommends

Posted in Film, Reviews
By Martin Roberts on 6 Jun 2017

The prospect of standing on a stage in front of strangers and trying to make them laugh is a terrifying one for most people, and is perhaps part of the reason why stand-up comedy is a good subject for documentary. Show the rest of this post…

It takes a special kind of person to want to do that, indeed to be able to do that, and Lloyd Stanton and Paul Toogood’s documentary Dying Laughing attempts to shed some light on who those people are, and why they put themselves through what for most of them seems to be a kind of beloved torture.

The film consists primarily of comedians – shot in monochrome in a basic setup – talking about their experiences on stage, and what makes them, and their art form, tick. Its treatment of the subject matter initially is fairly light, to the point of being somewhat unremarkable, but as the talking heads begin to discuss aspects such as hecklers and, most affectingly, the feeling of bombing onstage, it enters darker and more elucidatory territory, and becomes a vibrant, more interesting piece.

It helps that the majority of the talking heads are likeable people with interesting things to say. Bringing together a wide range of well- and lesser-known comics, including Chris Rock, Sarah Silverman, Amy Schumer and Stewart Lee, the film’s diverse cast speak openly about themselves and their chosen profession. While many of the insights offered may not be revelatory, there are nevertheless moments of pathos and power in Dying Laughing, as well as some laughs – though perhaps fewer than you might expect, given the comic talent on show.

The film intercuts their observations with generic footage of crowds and street scenes, which doesn’t add a huge amount to proceedings and gives the film a somewhat televisual air, particularly at the beginning. The lack of footage of actual stand-up routines – whether was this was a decision borne of budget restrictions or artistic choice, I’m not sure – initially seemed like a chance missed, but as th e film moved towards its low key but rousing conclusion, I no longer felt the absence. The point of the film, after all, is that we are looking at an art form from behind the scenes.

4/5

Film Review: The Shepherd

Posted in Film, Reviews
By Martin Roberts on 1 Jun 2017

Jonathan Cenzual Burley’s The Shepherd (or El Pastor) is pitched somewhere between kitchen sink realism, the naturalist leanings of a Terrence Malick film, and slightly misjudged thriller. The result is a compelling, well acted drama that doesn’t quite live up to its own high standards. Show the rest of this post…

Miguel Martin plays Anselmo, a shepherd who leads a simple life outside a village. He’d previously been offered a property in the village but rejected it to go on living in his little house without heating or electricity, and only his dog, Pillo, for company. He drinks wine, he reads, he herds sheep. The film begins in deliberately gentle fashion, allowing us to ease into Anselmo’s genteel way of life, which is soon to be disturbed by a pair of developers who want to buy up the local farmland to build a modern housing development. Anselmo’s house, they tell him with straight faces, is where the squash courts will be. Unsurprisingly, Anselmo doesn’t want to sell – he likes his quiet life – and politely refuses. What he doesn’t count on is the disgruntlement his decision will cause in the local neighbourhood.

From that point onward, Anselmo’s sleepy lifestyle gets more and more regularly interrupted. We feel his frustration as the world outside his little farm brings itself to bear on his innocent existence. This manifests itself not only in the drama itself, but in the pacing, which picks up as Anselmo begins to feel more and more put upon.

Martin, who won the best actor award at Raindance, brings quiet grace to Anselmo – it’s not a showy role, nor one that demands a massive range, but crucially we warm to him as a protagonist. This feeling is helped by his pleasant but brief interactions with the village folk, in particular with Concha (a very warm, if sparsely used, Maribel Iglesias), who clearly has an interest in Anselmo that is only partially reciprocated.

In the final act, Burley moves the narrative into something approaching thriller territory, at which point the film begins to lose its sheen of believability. The tonal shift struck me as a slightly laboured attempt to inject excitement, and I found it dramatically unconvincing, while the abrupt ending felt like it was doing a disservice to a well-established character. It doesn’t help that there are one or two contrivances brought into the narrative, in particular one involving a well, which disrupt the pacing.

But despite those issues, I still enjoyed The Shepherd. It establishes a lov ely atmosphere in its first half, benefits from some good performances, and it looks and sounds great. It’s just a shame that the film departs with a sense of what might have been.

3/5

Film Review: Mindhorn

Posted in Film, Reviews
By Martin Roberts on 5 May 2017

Richard Thorncroft, the character at the centre of Mindhorn, is clearly intended to join a very specific group of British comedy antiheroes. Show the rest of this post…

Along with the likes of Alan Partridge and David Brent, Thorncroft is a pitiable dinosaur trapped in a world in which he clings to the belief that he is a charismatic, well-liked person; what he lacks in talent he makes up for in ego.

In Sean Foley’s very British comedy, Thorncroft (Julian Barratt) is a washed-up actor who had short-lived success many moons ago with a now-cancelled TV show called Mindhorn, in which he played a detective with a bionic eye that could ‘see the truth’. Many of his co-stars went on to bigger and better things: Patricia Deville (Essie Davis), love interest of both Mindhorn and Thorncroft, is now a news presenter living with Thorncroft’s old stunt double (Simon Farnaby), and Peter Eastman (Steve Coogan), whose role in Mindhorn was miniscule, somehow had a hit spinoff series and became fabulously wealthy.

What makes Mindhorn a success in spite of its flaws is Barratt’s performance

The presence of Coogan, whose Alan Partridge is such a classic British comedy creation, reinforces the similarities between the two characters – even the plot, which sees Thorncroft asked to reprise his defining role when a killer emerges who will only speak to ‘Mindhorn’ – resembles some elements of Alpha Papa, the first big screen outing for Coogan’s character. But despite the obvious inspirations, Thorncroft manages to stand alone as a compelling comic force. Much of his success is down to Barratt’s winning performance and the high points of the script written by Barratt and co-star Farnaby.

But while there are certainly laugh-out-loud high points (including a running gag late on about Thorncroft’s physical incarceration in the Mindhorn costume), there are some elements that feel underdeveloped or misjudged. Some supporting characters, such as Thorncroft’s stunt double and manager, and his eventual sidekick, don’t bring much to the table in terms of memorable moments; while potentially amusing subplots, such as the runaway success of Coogan’s character, aren’t really played strongly enough. There’s also a fairly uninteresting plot holding all of this together, which, while it might not have been much of an issue in a more consistently funny film, means the story sections feel a little dull when they happen.

What makes Mindhorn a success in spite of its flaws is Barratt’s performance, a smattering of very good jokes, and the scant 90-minute runtime, which allows the material enough room to breathe but ties thing up b efore it runs out of steam. Those 90 minutes may be inconsistent, but there are enough comic high points, mixed in with just enough pathos, to make Mindhorn worth seeking out.

3/5

Film Review: Neruda

Posted in Film, Reviews
By Martin Roberts on 6 Apr 2017

Pablo Larraín’s unconventional biopic Neruda comes hot on the heels of Jackie, which saw Natalie Portman garner an Oscar nomination for her portrayal of the title character, although it was actually made before that film. Show the rest of this post…

Neruda is a pleasingly left field entry in the genre – indeed, the term ‘biopic’ is perhaps a little misleading as regards this film – and while its eccentricities didn’t always work for me, I found it to be an entertaining and enjoyable piece of work nonetheless.

The film contrives a game of cat and mouse between the poet Pablo Neruda (Luis Gnecco), who publicly denounces the Chilean president and must go into hiding to escape arrest, and a fictional detective, Oscar Peluchonneau (Gael García Bernal). Larraín divides screen time between his two leading men, if not equally, then equally enough to build them both up as worthwhile presences. Neruda is shown to be flamboyant and popular but also stubborn and flawed. This works in the film’s favour. Larraín is not interested in claiming that Neruda was a hero, just a flawed and talented man. As Peluchonneau, Bernal brings charisma and dry wit to a roll that is perhaps made to feel more important by the film than it actually is.

The film isn’t afraid to flirt with darkness but most of the drama takes place in a fairly light hearted tone. Larrain uses noir voiceover, and old fashioned rear projection during many of the film’s driving sequences, to bring a jovial sense of fun to proceedings, even when the subject matter is comparatively serious.

Larraín presents the story as a grand chase (albeit one whose political importance is revealed to be questionable) between his two central figures, although the significance of that narrative sometimes gets a little lost in the style. The relaxed tone means that while the film is enjoyable to watch, the central thrust of the story doesn’t have the weight it seems to be searching for. I also felt that although Gnecco and Bernal are on good form, their characters, although interesting on a surface level, weren’t as deeply explored as perhaps they could have been.

As the film goes on, the fleet-of-foot pacing of the earlier stages gives way to a more mannered, focused style, and this suits the conclusion perfectly. There is a sense, as the two characters get closer together, that they have become increasingly single minded in their respective goals, and the story ends with more conviction than it begins with.

Neruda is an interesting film with good performances and a well-established sense of place and time. I felt a little distanced from it as I watched, and unable to connect with the characters the way it seemed to want  me to, but that said there are plenty of excellent scenes to enjoy along the way, and an unusual tone that makes the film stand out among other cinematic portrayals of real figures.

3/5

Film Review: Personal ShopperFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 13 Mar 2017

In this unusual psychological chiller from director Olivier Assayas, Kristen Stewart plays Maureen, a personal shopper – essentially a personal assistant, primarily responsible for sourcing clothing and accessories – to a high-profile celebrity whom she rarely sees. Show the rest of this post…

She, dislikes the job, but is persisting with it because the money allows her a flexible lifestyle in Paris, and the time to repeatedly visit the old, creaking house where her twin brother died. Maureen and her brother were not only twins, but twin mediums. Maureen is waiting for a sign from her dead brother to confirm that he has ‘moved on’.

The film is a concoction of multiple genres, and has a genetic connection to haunted-house horror films, although filtered through a lens of cerebral drama and Hitchcockian suspense. These elements blend into what is primarily a character study – just what is Maureen really waiting for, and why? To what extent is what we know about her true? These are clearly tropes of the psychological thriller genre, but Assayas renders them in a fresh, engaging drama.

This is Stewart’s second role in an Assayas film, and there are cosmetic similarities between the characters she plays, most obviously that Maureen, like Valentine in Clouds of Sils Maria, is in the service of a celebrity. This is a different, more tightly wound performance, though, and Stewart again is very convincing. Whereas in Clouds of Sils Maria she was required to spar intellectually with Juliette Binoche’s actress, here she is very much the centre of the film, both physically and emotionally. She, along with the convincing tone established by Assayas – helps carry the film through its potentially risible elements.

Personal Shopper is a balancing act between the supernatural and the real, and Assayas handles the switches in tone well. Maureen believes her job is simply a necessity to keep her ticking over while she deals with her brother’s absence, but we quickly realise there may be more to it than that. It’s impressive that the atmosphere is maintained whether Maureen is wandering around a spooky house or sitting on a train reading text messages (in what is an effective, if overly protracted, sequence) and Assayas and Stewart hold everything together right up to the nicely staged conclusion.

If there is a significant issue with the film, it’s that the disparate elements work together only up to a certain point, and as a result Personal Shopper is neither truly scary or emotionally involving. But having said that, I enjoyed the blend of genres and appreciated the fact that Assayas was trying something bold. That boldness, couple with Stewart’s winning lead performance, make Personal Shopper worth a look.

4/5

 

Film Review: Allied

Posted in Film, Reviews
By Martin Roberts on 25 Nov 2016

Robert Zemeckis’ new film, Allied, is a World War 2 romantic drama starring Brad Pitt and Marion Cotillard as Max Vatan, a Canadian intelligence operative, and Marianne Beausejour, a French resistance fighter, who meet in Casablanca on a joint intelligence mission to assassinate a German officer. Show the rest of this post…

After their mission is complete, the pair move to London, get married and have a daughter. All seems to be going well, until a former colleague informs Max that his wife may have been spying for the Nazis all along.

The film builds tension around the central relationship through unhurried conversations and suggestive words and actions, and does a pretty good job of establishing an atmosphere of suspicion. Writer Steven Knight (Eastern Promises, Locke) clearly enjoys writing dialogue, and Allied is at its best when it’s in a suggestive, inquisitive mode. Where the film is less certain, unfortunately, is the romance, which despite the presence of two excellent actors in Pitt and Cotillard, never quite fizzes into life in the way it would’ve needed to in order for this to be something truly memorable.

Zemeckis and his cinematographer Don Burgess handle the time period well and there are strong set pieces in here (including the build-up to and staging of the assassination), as well as some convincing effects work that allows the sets and the CGI to blend pretty imperceptibly. There’s also welcome support from Jared Harris as Max’s boss, and an amusingly dour, if brief, turn from Simon McBurney as an implacable intelligence officer.

The final act is a tad rushed (perhaps as a result of the extended opening) and not entirely believable, but I was moved by it, and felt the tension in the middle section, so for me the film worked. It occasionally feels a little stilted in its storytelling, as though it’s holdi ng something back (much like its protagonists), but this tale of spies in love, which is old-fashioned in its storytelling, mostly in a good way, has enough charm to be worth a look.

3/5

Film Review: PatersonFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 21 Nov 2016

Paterson is one of those films that, when describing it to somebody, you have to work a little to avoid making it sound dull. Man gets up, goes to work, comes home, has a beer, goes to bed – rinse and repeat. Show the rest of this post…

But while it may not be to everybody’s tastes – it’s a considered, slow-moving film – Paterson, for me, succeeds in creating a tone that is very much its own, and by practising exceptional levels of dramatic restraint, delivers a ponderous, thoughtful experience, much like the ones in its protagonist’s head.

Jim Jarmusch’s new film stars Adam Driver as Paterson, a mild-mannered, likeable everyman living in the city that shares his name in New Jersey. We follow a week of his life, as each morning he wakes up with his artistic wife, Laura (Goldshifteh Farahani), and heads off to do his work driving a bus around the local streets. After finishing work, Paterson has dinner with his wife and then goes out to take their dog for a walk and have a solitary beer at a local bar. From time to time, as he goes through his day, we hear Paterson reciting lines of his poetry to us, often delivered in the form of unfinished thoughts or revisited lines.

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That’s the setup, but also pretty much the plot. This is not a film with a superfluity of narrative to get through – just a simple idea portrayed in a convincing way. What makes it work is Jarmusch’s handling of tone, both in his direction and in his writing, and Adam Driver’s very subtle but subtly effective performance. There is no great emoting in here, no moments of hysterical drama – what we see is an excerpt from the life of an ordinary, and quietly interesting, man.

What I enjoyed about the film’s tone was how it floated through Paterson’s life by way of repetitive but slightly reworked shots, overheard conversations on buses and in bars, and the appearances of supporting cast members in the bar Paterson visits, which give the film a sense of community. Everything is wrapped up in an atmosphere of wistfulness – though not one that dwells on sadness; just a simple acceptance of moving through life – which is complemented by the delicate score.

It’s the overall tone of the piece that strikes as you watch, and that tone softens potentially negative elements such as the lack of character arcs or real development; indeed, it may be precisely the point that such things can be ignored without doing damage to the piece. The film depicts a quiet life, adopts a quiet  manner in which to tell it, and is subtly affecting in doing so. It won’t be for everybody, and could perhaps have been edited down a little, but as a tonal piece it really works.

4/5

Film Review: Fantastic Beasts and Where to Find Them

Posted in Film, Reviews
By Martin Roberts on 17 Nov 2016

This spin-off of the Harry Potter series, set in New York in the 1920s, takes some aspects of JK Rowling’s ‘wizarding world’ and places them in a new context, with a focus on adult characters. Show the rest of this post…

It is the first in what will be a five-film franchise and is directed by David Yates, who directed the final four entries in the Harry Potter series, and who has been confirmed as the director for all four sequels to this opening chapter. Fantastic Beasts and Where to Find Them is based on the book of the same name, which Rowling wrote as a side note to her Potter series, and sees the author make her debut as a screenwriter.

It tells the story of Newt Scamander (Eddie Redmayne) who, on a trip to New York, accidentally releases a number of magical creatures into the neighbourhood. This is particularly unfortunate because MACUSA (Magic Congress of the United States of America) is struggling to keep the existence of magic secret from the “No-Majs” (those unpossessed of magical ability, or ”muggles”, to us Brits), with whom the wizarding world has had a strained relationship in the past. This setup forms the basis of most of the film’s narrative, although the actual focus of the plot is elsewhere, and will lead into the sequels.

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Initially the film’s lack of focus is distracting. Newt’s efforts to subdue his creatures are fitfully entertaining, but because the film keeps cutting away to other plot strands and introducing new characters, the first half feels rambling and struggles to hold the interest. As the plot moves on a sense of momentum begins to emerge, which is a relief, and the final act is surer of foot as a result – there’s even genuine emotion in the final movement, which I had not expected. There are bits of the narrative which feel a little rushed because the film is attempting to fit so much in, but by the end we get a pretty good sense of how the US’ relationship with magic differs from that of the UK.

There’s a subplot involving a group of magic-hating extremists led by Samantha Morton’s unnerving Mary Lou Barebone, although the significance of this group is only fleetingly addressed, to the point that one major plot point in particular feels oddly incidental. But what the film sometimes lacks in structure and plotting, it makes up for in charm and energy. Redmayne gives an endearing performance as Newt, his collection of nervy ticks moving quickly from weird to charming. The supporting cast makes the weaker scenes play better than they might have done, in particular Dan Fogler as Jacob Kowalski, the No-Maj caught up in Newt’s actions, who brings welcome warmth to his scenes.

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Rowling and Yates build and inhabit the world of 1920s New York convincingly, and crucially make this feel like the same world as, albeit slightly removed from, the one we’ve read about and watched for many years. But the film lacks real heart to match its world building. Newt is a charming but mostly one-note protagonist, who hopefully will be fleshed out in the next film, and the same applies to Tina, a MACUSA employee who first arrests and then befriends Newt. The villainous element of the plot is also thin, and an unintentionally amusing reveal at the end fails to drum up the interest it’s hoping for.

There’s strong effects work on the numerous critters in the film, in particular a kleptomaniac marsupial ‘Niffler’ with a penchant for nicking shiny goods, and even though most of the action sequences feel incidental as regards the plot, they provide enough energy to be fun. Technically the film is as adept as we’d expect from the later Potter films, with a sweeping (if slightly overwrought) soundtrack and a strong sense of place.

Fantastic Beasts is a solid if unspectacular introduction to a new franchise. The next entry would benefit from a tighter plot, better paci ng and more focus on character. But whether for die-hard fans of the series, who will be going to see this whatever, or those with a more casual interest, it’s worth a viewing.

3/5

Film Review: Nocturnal AnimalsFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 3 Nov 2016

It’s been the best part of seven years since fashion designer turned writer/director Tom Ford impressed cinemagoers with A Single Man, his adaptation of Christopher Isherwood’s novel of the same name about a bereaved professor who has recently lost his partner. Ford’s second film, Nocturnal Animals, is also an adaptation of a novel: this time Tony and Susan by Austin Wright. Show the rest of this post…

The film tells the story of well-to-do artist Susan (Amy Adams) who receives a manuscript in the post from her ex-husband Edward (Jake Gyllenhaal), from whom she split many years prior to the film’s opening. As Susan reads the manuscript, which details a fictional crime involving a thinly disguised version of her and her family, we see that fiction dramatised. There are also flashbacks to Susan and Edward’s early relationship, so Ford – as writer/director – and his editor Joan Sobel, have a challenging task to make all the strands not only work individually, but to come together as a cinematic whole. This is something they have achieved with great success, and is one of the film’s key strengths.

While A Single Man was a relatively stripped down piece of work, Nocturnal Animals is much more ambitious in terms of its scope. The cast is much larger, and the film’s interweaving of narratives is something that could’ve backfired, but Ford has shown he is capable of dealing with both, and that he is very much a director to be taken seriously.

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Both lead actors are required to tackle their central roles in two separate arcs, and Gyllenhaal has the tough task of carrying the weight of the dramatised manuscript sequences which, in the hands of a lesser actor or director, could’ve overwhelmed the film. The fact that they don’t, and that all strands of the film are engaging and affecting, is a triumph that both director and performers can take great credit for. Adams and Gyllenhaal are actors at the top of their game at the moment, and can generally be relied upon to deliver strong performances, and that is very much the case here. Adams conveys the fragility of somebody who is professionally lost and trapped on an emotional plateau between two time periods (not easy when a lot of your screen time is spent reading a book) while Gyllenhaal carries the tension and weight of the novel interludes.

The film’s structure really works in portraying Susan and Edward as each other’s emotional counterweights, even though the two actors spend little actual screen time together. The story’s central arc – of a relationship that ended and the baggage both protagonists are saddled with – worked for me right up until the very well-pitched ending.

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As we expect from Ford, the film has a strong visual style which comes through via Seamus McGarvey’s excellent cinematography; in particular during the many scenes set at night, which are enveloping and atmospheric. The real achievement, though, is that the film juxtaposes the bright, gritty Texan landscapes with the cold, dark cityscapes so flawlessly. The strands are held together too by Abel Korzeniowski’s score, which is dreamlike and menacing in equal measure.

The film’s one significant misstep is the opening credits sequence, which is deliberately provocative but for me felt misjudged. You could also argue the novel sequences are a tad overlong, but to cut them would’ve meant losing some of Michael Shannon’s delicious supporting performance as a Texas lawman. A mention, too, for Aaron Taylor Johnson, who shows us his terrifying side as a sadistic citizen of West Texas, and Laura Linney, who, despite having just one short scene in the entire film, ensures it hits with the required weight.

There’s a lot to like about Nocturnal Animals, which pleasingly is a very different film to A Single Man, though equally confident an d compelling. With a cast on great form, a tricky narrative told in a confident way, and excellent technical qualities, there’s a whole lot to enjoy in Tom Ford’s second feature.

4/5

Film Review: Doctor Strange

Posted in Film, Reviews
By Martin Roberts on 25 Oct 2016

Given how ubiquitous Marvel Studios’ comic book adaptations have become, it would be easy to assume its cinematic universe is populated merely by production line, populist Blockbusters reluctant to take creative risks, but Marvel has shown that it is willing to make left field choices with its big-budget behemoth, particularly with its choices of directors, writers and cast members. Show the rest of this post…

In 2014 Marvel took arguably its biggest risk yet when it released Guardians of the Galaxy, a sci-fi epic featuring a roster of lesser-known heroes, including a talking raccoon, but that film was a hit, both critically and at the box office. Doctor Strange is a risk in a different sense, not just because it introduces us to an entirely new cast and hero in an already bloated fictional universe, but because the subject matter – sorcery and the “mystic arts” – could so easily have backfired.

Benedict Cumberbatch plays Doctor Stephen Strange, a gifted but arrogant neurosurgeon who, pretty early on, is involved in a devastating car crash which seriously damages his hands, thus throwing his career into jeopardy. Medicine appears unable to fix him, no matter how left field he goes, so Strange looks further afield, to a secretive organisation in Kathmandu headed up by The Ancient One (Tilda Swinton), where he will learn that everything is not as it seems, in particular his perception of reality.

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From there Derickson delivers on his promise that this will be a mind-bending experience, cutting loose on a series of trippy set pieces guided by the impressive visual effects work of Luma Pictures and Industrial Light and Magic. Strange learns how to teleport himself around the world in an instant; to separate his astral form from his body; and much more. But he also learns of a plot by a former pupil of The Ancient One, Kaecilius (Mads Mikkelsen) to surrender the earth to “the destroyer of worlds”, an entity called Dormammu, who lives in a dark dimension outside time. Strange must decide whether to follow his own path, or to be selfless and work with his new mentors.

The film is in some ways a triumph, but as a whole lacks the cohesion and charm of some of Marvel’s other comic book adaptations. Cumberbatch is well cast as Strange, although his character arc in this film means that, for the most part, he’s a pretty unlikeable protagonist. Though there are hints of development, he comes across as a charismatic but shallow centre for the film to revolve around, which isn’t helped by the fact that most of the supporting characters are thinly drawn, in particular Karl Mordo (Chiwetel Ejiofor), Strange’s ex-girlfriend Christine (Rachel McAdams) and, unfortunately, Kaecilius, whose villainy just isn’t memorable. These are excellent actors, but the film really doesn’t use them enough. The supporting cast fares better in the form of Benedict Wong as Wong, with whom Cumberbatch has a winning, if short-lived, rapport, and Tilda Swinton, who is the best thing in the film as The Ancient One.

Derickson directs the action scenes with flair and there is some captivating stunt work in here allied to well designed visual effects which see cities collapsing in on themselves in an Inception-like way, and an arresting journey into the depths of the unknown multiverse. But while the action scenes are mostly impressive to look at, the rules of engagement here are too thinly drawn. At times its difficult to see exactly what’s going on, but more damagingly the sense of peril sometimes gets lost in the whirling special effects.

There are flashes of humour in here which work well to offset the comic book exposition that is required to get us all up to speed on what’s going on, and tonally Doctor Strange should be able to match up to the other Avengers with whom he is destined to share a universe with one day. Quite how Marvel will deal with the action stakes in forthcoming projects given the implications in this film I’m not sure, but I look forward to seeing how they do it.

I didn’t warm to Doctor Strange as quickly as I have to many of Marvel’s other heroes, but perhaps the character just needs time to settle. Cumberbatch will do better work in the role if he’s given a better story to work with – ideally a film in which the villains are more successful and the supporting cast is given more of a chance to make an impact.

3/5

 

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