- Location: Cinemark Century Point Ruston
- I suppose there was no way the Marvel Cinematic Universe would ever let itself get really crazy, but admittedly I was hoping for something more adventurous and visually novel from a film titled Dr. Strange. Sure, the movie introduces some alternate dimensions, a touch of mind-warping, and the odd occult religion, but nothing you couldn't leave hanging on your dorm room wall when the parents visited. Even Benedict Cumberbatch's alluring accent has been completely defanged, lest comic book fans worry that a native New Yorker sound like he's from London. And don't even get me started on how they sterilized the good doctor's mustache...but maybe I should just move on to discussing the movie.
- The story presents the comic book origins of Dr. Strange (Cumberbatch) fairly faithfully, starting with his hubris-driven car crash, leading to a mysterious pilgrimage to Nepal, and finally landing him at the feet of the Ancient One (Tilda Swinton). Critics more thoughtful than me have spilled plenty of digital ink over the choice of Swinton for a character traditionally presented as an Asian man, but I am glad to say that nothing about her impish performance is as troublesome as her casting. Furthermore, the production appears to have achieved at least one moment of cultural self-awareness by elevating Wong (Benedict Wong) from his traditional demeaning role of student/manservant to a full-fledged sorcerer of amusingly dour disposition.
- About that sorcerer stuff: It turns out that the best way for Strange to heal his injured hands is to train in the Mystic Arts, and you know that part never really made sense in the comics, either. Regardless, he joins up with the Ancient One, Wong, and the uncompromising Baron Mordo (Chiwetel Ejiofor) to battle the mostly forgettable rogue sorcerer Kaecilius (Mads Mikkelsen) and his band of unmerry acolytes. Whereas Strange's first journey into the "astral plane" is a creative kaleidoscope trip through space and time, the frequent sorcerer battles tend to resemble scenes from Inception, which did leaning architecture earlier and better. The film's only other truly creative moment arrives at its finale, when Strange defeats the diabolical other-dimensional beastie Dormammu with a surprisingly fun and silly trick.
- Given the interconnected, non-traditional structure of the Marvel movie universe -- despite DC's lame efforts, there is no other franchise like it -- perhaps the most sensible comparison to make is with the other Marvel films. Much to my surprise, Dr. Strange often aims for a light and jokey tone, but falls precipitously short of the funny parts of Ant-Man and Iron Man or any part of Guardians of the Galaxy. Its aforementioned fight scenes have a look that is distinct from standard punchfests, but director Scott Derrickson is not nearly as adept as the Russo brothers in creating memorable action setpieces. The film's ending is original, and at least it can be said that this film's perfunctory love interest Christine Palmer (Rachel McAdams) comes much closer to Pepper Potts than Jane Foster in acting and characterization. Like a few too many entries in the ever-increasing Marvel movie pantheon, Dr. Strange never embarrasses itself but fails to leave any lasting impression. If only it had embraced its strangeness more fully, maybe I too would have become a believer in the Mystic Arts.
- The compulsory post-credits scenes involved Thor and Baron Mordo, if anybody cares.
- Also appearing were Benjamin Bratt, Michael Stuhlbarg, and your old pal, Stan Lee.
