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Aesthetically and conceptually, “Doctor Strange” propels the Marvel Cinematic Universe in a completely new direction. ‘Doctor Strange’ feels fresh because it diverges from the usual stories of technologically gifted playboys and noble super soldiers in favor of a magically-governed world. It moves quickly from one plot point to the next, wasting no time in getting there. It’s a blast to watch. Additionally, this was the first time I had ever noticed the musical score while watching a Marvel film for the first time—it doesn’t create an iconic theme for its hero, but it does imbue the film with the appropriate mood. The visuals are electrifying, and CGI is used to great effect to create a world that is unlike anything else we’ve seen in recent superhero adaptations. In spite of its wonderful world-building and trippy effects, “Doctor Strange” isn’t the evolutionary step forward for Marvel that it needs to be, at least not in terms of storytelling progression. Its core narrative, despite all of its enhancements, has been seen countless times before in different forms.
Doctor Stephen Strange (Benedict Cumberbatch) is a brilliant neurosurgeon with a colossal ego that rivals that of Marvel superhero Tony Stark. In his travels around the world, he shows little regard for the people he encounters. Strange is involved in a horrific car accident after becoming distracted by medical documents while driving (he may be intelligent, but his ego makes him believe he is invulnerable). His hands are badly injured as a result of the accident. Those scarred and trembling hands serve as a constant reminder of the man he used to be, and the man he will never be again. Strange is unaffected by this and continues to live his life as he has. He instead becomes crueler and more withdrawn as surgery after surgery fails, even lashing out at his ex-lover and co-worker Christine Palmer (Rachel McAdams), who is the last person he can turn to for help after the world of medicine and science has failed him. Following a tip from Jonathon Pangborn (a charismatic and underutilized Benjamin Bratt), Strange finds himself in Nepal under the tutelage of The Ancient One (Tilda Swinton), who introduces him to worlds he had never imagined existed before. At its most daring, the film’s visual landscape of their first encounter is one of its most beautiful moments. We have access to worlds that are awash in neon purples, cerulean blues, and blood reds. Strange is surrounded by hundreds of hands, as if he were in a nightmare, as we watch it happen. He travels between dimensions that are reminiscent of the dark beauty of outer space and dimensions that are a kaleidoscope of colors, depending on his mood. Even a man as conceited as Strange is unable to deny what he has been presented.
Doctor Strange’s character may be too closely aligned with the model of wealthy, egotistical white men with whom superhero films have become preoccupied. In this case, however, the film had the opportunity to do something different by showing the interior of a character who is forced to question everything he knows about himself as well as the nature of reality. Instead, “Doctor Strange” makes some significant narrative errors that detract from the overall experience.
One of the most glaring flaws in “Doctor Strange” is the speed with which Strange learns to use magic. There isn’t a lot of tension in his story arc. While he initially struggles to keep up with the other students The Ancient One has taken under her wing, he soon finds himself stealing sacred books from under the nose of Wong (Benedict Wong), the sharp-eyed master who is tasked with protecting the texts at The Ancient One’s direction. Strange operates according to his own set of rules, developing far beyond the abilities of those around him. He even goes so far as to bend time, read secretly from forbidden texts, and wield the Eye of Agamotto, which is a powerful magical weapon. With a sigh, I couldn’t help but chuckle when Karl Mordo (Chiwetel Ejiofor) remark that Strange seems destined for this. He was, without a doubt.
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Strange has, in effect, been proven correct. Who cares about following the rules and breaking the laws of nature if you’re actually right and, as a result, you’re helping to save the world? Strange never really develops as a character because he consistently proves to be correct about far too many things, thereby justifying his ego and arrogance. Cumberbatch is clearly enjoying himself in the role (despite the fact that he brings nothing unexpected), but he can’t take his attention away from the fact that nothing in Strange’s story feels earned. Not to mention that “Doctor Strange” is, at its core, the story of a white man traveling to a “exotic” land where the culture and people are unfamiliar to him, let alone speak the language of the natives. Yet, somehow, he comes to realize that he has a natural talent for magic and progresses to the point where he can beat practitioners who have been at it for years.
As a result, “Doctor Strange” reveals the precarious position in which superhero films find themselves today. The film’s director, Scott Derrickson, and Marvel Studios President, Kevin Feige, have both defended the film’s controversial casting on multiple occasions. They’re well aware of the increasing expectations of their audiences, and they’re preparing accordingly. However, simply casting actors in supporting roles, such as Benedict Wong and Chiwetel Ejiofor, is not enough; you must also give them something interesting to do in their roles. And, as entertaining and lighthearted as “Doctor Strange” is, it’s impossible to ignore the issues raised by the decision to cast Tilda Swinton as The Ancient One.
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In the role of the sorceress, Swinton brings her trademark oddity and cutting humor to the role. To believe that this woman has been alive for hundreds of years, all it takes is a careful tilt of her head or an amusing remark from Strange. A lot of the time, Swinton’s presence feels like it belongs in a different film entirely—one that would truly embrace the weirdness of the premise and go beyond a few trippy visual effects to do so.
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When asked about the decision to cast Swinton in the role of a Tibetan man in the comics, Derrickson and co-writer C. Robert Cargill responded with a long recitation of their reasoning for doing so. They were concerned that casting an Asian man or woman would cause the character to fall into one of the many stereotypes associated with the race. As a result, they sanitized the role. As a creator, if the only way around these issues is to whitewash the character (while maintaining the Asian setting and vague mysticism), the problem isn’t with that character, it’s with your own lack of imagination in creating that character. Despite the fact that the filmmakers behind “Doctor Strange” are well-intentioned, the racism that runs through the film does not diminish its impact. Despite the desire to be innovative, “Doctor Strange” unfortunately repeats many of the mistakes of its predecessors, which extends beyond the uncomfortable racial politics of the first film.
There are a number of excellent actors who appear in the film’s margins, but “Doctor Strange” does not make the most of their talents. Rachel McAdams plays one of the most poorly written superhero love interests I’ve ever seen, and I’m not saying that lightly. Throughout the film, she exudes a warm, flirtatious energy that is a welcome addition to the film. But she isn’t so much a person as she is a convenient prop that can be left out for long periods of time until Strange requires her assistance.
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The villain of “Doctor Strange” is responsible for the film’s most egregious casting error. At this point, has any other major franchise squandered as many talented actors in poorly written villain roles as the Marvel Cinematic Universe? Mads Mikkelsen is a phenomenal actor who frequently creates an alluring mix of darkness, pathos, and passion in his performances. For this type of story, his unsettling on-screen presence is absolutely essential. However, Kaecilius, a former pupil of The Ancient One, is a character with such muddled motivations and little interiority that Mikkelsen is surprisingly forgettable. Finally, Strange’s battle with him boils down to a simple case of “being in the wrong place at the wrong time.” Strange is unconcerned about being a hero in any way. Aside from being one of the most poorly thought-out central conflicts in recent memory, the conflict between Kaecilius and Strange is one of the most ill-thought-out central conflicts in recent memory. They aren’t engaged in combat because they hold opposing ideologies or have a long emotional history with one another. They’re simply a source of frustration for one another. Mordo’s obsession with order, on the other hand, would make him a more compelling counterpoint to Kaecilius’s chaos theory.
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The film’s stunning visuals are, without a doubt, its most impressive feature. ‘Doctor Strange’ is a visual feast in a way that superhero films rarely are, with everything from costume design to CGI to its framing. In the Mirror Dimension, where the magic of the characters will not have any effect on people in the real world, the characters are free to demonstrate the full extent of their abilities to the audience. Buildings disintegrate, fold into one another, and reform in ways reminiscent of the movie “Inception.” Almost every scene is a riot of color, with hues ranging from crimson to marigold to neon purples to inky blacks. At times, “Doctor Strange” borrows from the language of video games in ways I’ve never seen before, with its characters dwarfed by massive structures that are collapsing all around them. The laws of physics have no bearing on this situation. It also becomes cramped after a while in the Mirror Dimension, a problem that can be traced back to the world-building process in some cases. We only get rudimentary explanations of how any of this works. It is, without a doubt, exciting to watch. However, without an understanding of the impact of the magic in the Mirror Dimension or the ripple effect of playing with the laws of physics, it’s difficult to feel thrilled, scared, or awed after a while when you don’t understand the impact of the magic. At the end of the day, the film’s visual effects and visual beauty are both frustratingly light on substance.
Even with these significant flaws, “Doctor Strange” has the potential to be a charming film. It’s a bouncy film that’s jam-packed with great details, striking imagery, and pure joy. Because it propels the MCU into a fascinating world filled with magic and villains that exists outside of our understanding of time and reality, perhaps they will do something interesting when they arrive there the next time around.
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