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Review: ‘Dr. Strange’ Marvel Studios First Big Miss

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Doctor Strange is the first big miss for the highly successful Marvel Studios. Where Captain America: Civil War was engaging and action packed, Doctor Strange is painfully conventional narrative with minor moments of action. Where Antman was a fun origin story, this one seems drawn out at times. Watching this movie reminded me of how I felt watching Green Lantern for the first time. Both films are decent enough origin stories, but these days in the Marvel World decent just doesn’t cut it. If anything, this proves that not every damn comic book has a narrative that translates well on-screen.

The film offers an opening action sequence that introduces us to Kaecilius (Mads Mikkelsen) which sets the tone for the film. It’s at this point we get our first glimpse of the very arrogant Dr. Stephen Strange (Benedict Cumberbatch). Strange is world renowned for his work in the field of neurological surgery, and he isn’t above making sure everyone knows this. Tragedy strikes when he gets into a car accident, thus injuring Strange’s hands in such a way that he’ll never be able to perform an operation again.

Doctor Strange

Strange begins to lose himself as he frantically attempts to find a way to repair the damage done to his hands. After countless dead ends, he tries one last ditch effort to find a way to heal his hands and heads off to Nepal to find a spiritual healing center. What Strange doesn’t realize is that this healing center in Katmandu is a teaching center for those who wish to learn the Mystic Arts. This is where the audience is introduced to The Ancient One (Tilda Swinton), Mordo (Chiwetel Ejiofor), and Wong (Benedict Wong).

What has made most Marvel films so successful is that the characters are richly developed films, the narrative is written well, and the fantasy/action elements of the movie are at least realistic. In Dr. Strange, it would appear everything is in reverse. The visuals are bright/bold, and the fantasy/action elements are indeed jaw-dropping (If you plan to see this film pay to see it in IMAX). The characters are very generic and the narrative trudges along instead of the normal flow we are accustom to in previous Marvel films.

While I understand the need to set up an origin story for Doctor Strange, there has to be a balance between the origin story, character development, and the action that we are accustom to during a Marvel film. Director Scott Derrickson allows the film to spend way to much time in Nepal and not enough time seeing Strange grow into his role as Sorcerer Supreme. If the audience is to believe this timeline, he goes from complete sorcerer trainee to master of the mystic arts in record time.

Why didn’t Derrickson learn from previous Marvel films? Take for example Iron Man. In the original movie, Tony Stark (Robert Downey Jr.) didn’t just immediately go from being a weapons dealer to protector of all people in record time. He had to endure kidnapping and torture and the hands of terrorists. Now one would think that would have been plenty to change his outlook on things, but it took the loss of a fellow prisoner during an escape attempt to open his eyes to what he needed to do. Where’s Strange’s moment? In this film, he goes from being a doctor to being injured to being one the more powerful sorcerers in the Universe. Nothing in his narrative made me pull for him. When Strange does start to get a handle on his powers, my reaction was “Great … I guess.”

Mads Mikkelsen and Chiwetel Ejiofor both give incredibly bland performances. Mikkelsen is one of the worst villains that has been in a Marvel Film (and I’ve seen them all). Mikkelsen character is supposed to strike fear in the audience, and the response was something closer apathy. Benedict Cumberbatch doesn’t lose himself in the role of Dr. Stephen Strange. He looks the part (and he does look cool), but his performance is more run of the mill than they dynamic performance that I was expecting.

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Director Peyton Reed Talks ‘Ant-Man and The Wasp’

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Marvel’s Ant Man was a surprise hit of 2015. After the film’s release, a sequel was announced and then titled Ant Man and The Wasp. We had not gotten much news on the project, but today we have an interview by Moviefone with the director, Peyton Reed, where he discusses several aspects of the movie.

Reed discussed Giant Man and the Wasp’s debut:

“When I first found out — gosh, I don’t know, two years ago, a year-and-a-half ago — that “Civil War” was going to get the Giant-Man premiere, I was like “No!” But, now, I’ve since recovered, and we have a lot more in store for Scott Lang in this movie.

We get to see the Wasp debut — we’re all about the Wasp and Ant-Man. So I like it, because we spend a lot of time with our different writers and directors, and there’s a lot of crosstalk, and I love that.”

He then elaborated on his vision for the Wasp character:

“I’m just personally excited to get to introduce yet another character into the Marvel Universe. After Ant-Man, now we get to see Wasp, so really designing her look, the way she moves, the power set, and figuring out, sort of, who Hope van Dyne is as a hero — because we know her in a certain context in the first movie, but now she’s going to have her coming out party — that’s exciting!”

Lastly, the director talked about Scott Lang’s motivation, as well as the film’s tone:

“I think we like our little Ant-Man corner of the universe. Because it’s a whole different vibe tonally, but also just in terms of who Scott Lang, who Ant-Man is: he is a guy who is maybe not so sure he wants to be like this Avenger-style, full-on superhero.

He’s got a kid, and this is the inner conflict with him, and he’s very much just like a normal guy who has come into contact with some incredible power. So, we like that aspect of kind of like it being its own little corner of the universe.”

What are your thoughts from the director? Are you excited to see this sequel?

Ant-Man And The Wasp hits theatres on July 6, 2018.

Source: Heroic Hollywood.

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Marvelry’s Curiosity Shop: A Book Review

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Marvelry’s Curiosity Shop provides horror readers with many…curiosities under the hood. It is a fair statement to say that horror stories are a dime-a-dozen, and so many are a copy of a copy of a remake, not unlike horror films these days. John Brhel and Joe Sullivan bring horror fans 12 horrific tales of suspense, twists, obsession, and social climbing. They range from the unique to the classic horror tropes of anthologies of yesteryear.

Marvelry’s Curiosity Shop doesn’t really have a single terrible story, but there are certainly some that are better than others. The items of note in Marvelry’s Curiosity Shop are both notable, original, and very seldomly are lacking.

A  Gift Ungiven and Seams of Consequence are examples of the most complete stories in the shop, as they exude originality, suspense, and well fashioned twist. Then there is The Victor Talking Machine and Martinus’ Mannequin that take us to slightly differently areas, with one having a happy ending and the other being magic related. Echo’s Reflection, The Letterbox, and The Painter’s Premonition are all dark, intriguing tales, but the endings are either a little less or more than this writer wanted. Do not let that dissuade you, as the twists, however, are just as twisty.

The most predictable of these tales in Marvelry’s Curiosity Shop that is A Made Match, as this story lags, and doesn’t provide as much of a twist.

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Marvelry’s curiosity shop feels inspired by the Night Gallery , Are You Afraid of The Dark?, George A. Romero and Stephen King’s Creepshow, classic ’60s horror anthologies like Torture Garden. The book wades through some familiar tropes, but at no point does any ending feel unsurprising. The real life locations will certainly creep out and amuse those in the upstate New York and Pennsylvania area, and cause those readers to want to revisit or visit those locations.

In an over crowded horror field, as a trip to any big box or independent book store will attest to, Marvelry’s Curiosity Shop will attract the readers who are also awe-inspired by Rod Serling, Edgar Alan Poe, and similar writers, but still manages to stand on it’s own merits.
Dr. Marvelry, marble-rye, Marvel-ree, whomever he is, seems intended to be inspired by Vincent Price, but coupled with his picture on the front cover, feels like a Vincent Price character played by Sir Ben Kingsley. Not that there is anything wrong with that.

Terror-iffic titles that cause curiosity a intrigue before you even open the first page, or read the first paragraph. The style is more matter of fact, and doesn’t have the philosophical bend of Serling, the flowery and poetical Poe, or the dark humor of King, but it stands on it’s own merits, and still keeps on the edge of your seat. As writer  John Brhel has stated “It’s all about the twists,” and that may be his and co-writer Joe Sullivan’s motto, but it’s also a very self assessment of their work.

Check out John Brhel and Joe Sullivan’s other books such as Tales from Valley View Cemetery, and their newest release, At the Cemetery Gates: Year One.

[Images Courtesy Of John Brhel]

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Review: ‘Hacksaw Ridge’ A Scintillating Look At The Morality Of War

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Hacksaw Ridge is a powerhouse film tackling the morality of war head on. Can you justify forgoing your own beliefs in order to take another life? In Saving Private Ryan, Captain Miller (Tom Hanks) has a discussion with Private Reiben (Edward Burns) about their job to complete the “mission” no matter what (even forgoing their own beliefs) because that could be their ticket home. In contrast, Hacksaw Ridge takes us through the blood-soaked ditches in Okinawa and asks, is the mission worth compromising who you are?

This film is the first Mel Gibson has directed in over a decade. Gibson has been on the outs with Hollywood after being caught on tape spouting off color remarks towards his wife. That mixed with an early 2006 DUI arrest, the anti-semitism issues, and it led him to to rehab. Gibson is now sober and back in the director’s chair. Hollywood loves a redemption story and one can’t help but wonder if Hacksaw Ridge will be his.

hacksaw_ridgeThe film centers around the life of Desmond Doss (Andrew Garfield). Doss was the son of a Seventh-day Adventist and led a very religious life. When the Japanese bombed Pearl Harbor in 1941, Doss was saddened by the tragedy but never wavered in his beliefs, and his status as a conscientious objector was understandable as he had seen first hand what war does to a person. His father Tom (Hugo Weaving) wavered from his belief system and came back from World War I a broken human being who drowned his grief in whiskey.

As Doss wrestles with how he could serve his country he falls in love with a local nurse, Dorthy Schutte (Teresa Palmer) and is convinced that she will be his wife. In the midst of their courtship, he is compelled to enlist as the Army ensures him that he could be a medic who wouldn’t carry a gun.

Doss is constantly belittled and pressured into abandoning his values by his sergeant (Vince Vaughn) and captain (Sam Worthington). He’s eventually court-martialed and his belief system is put on trial. Through the course of the trial, it’s determined that Doss has, in fact, not committed a crime and he’s set free. The scene quickly shifts to Doss’s arrival at Hacksaw Ridge and a look of astonishment as countless numbers of dead bodies are piled into flatbed trucks and driven away from the battlefield.

Gibson doesn’t shy away from depicting the brutality of war. The battle scenes are portrayed in the most graphic of ways. Limbs are blown off, blood is flying everywhere, and fear is evident in the eyes of both the Americans and the Japanese.There’s nothing glamorous about these sequences because there’s nothing glamorous about death. The production design in Hacksaw Ridge is stellar. Cinematographer Simon Duggan takes slight risk in using handheld camera shots when an American soldier is engaged in close combat with a Japanese soldier, but it’s the right call.

Andrew Garfield and Hugo Weaving are both impressive. Weaving is fascinating as Private Doss’s father who is clearly facing new demons following the demon slaying on the battlefield. Garfield attacks the role with a level of veracity that will move the toughest of men to tears. Doss realizes that his beliefs could easily get him killed in battle, yet he stands resolute even when the odds seem daunting. It’s the best performance of Garfield’s career and will certainly attract the attention of Oscar voters down the road.

Hacksaw Ridge will end up as one of the best films of 2016, and rightfully so. With a mixture of great direction, fantastic production design, eye-popping cinematography, and award-worthy performances, films like this one are refreshing to watch and write about. Let’s hope we can continue this trend as we march further into awards season.

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Box Office Analysis: Is the Industry Suffering From Sequelitis?

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Over the weekend, Inferno, the third installment of the Robert Langdon series hit screens across America. With celebrated collaborators Ron Howard and Tom Hanks reunited once more, expectations were high for the sequel to 2009’s Angels & Demons and 2007’s The Da Vinci Code. The film had a hard domestic landing with a 14.8 million opening weekend. Inferno is the latest big budget flick that’s struggled to find an audience in the U.S. Along with other tentpole stumbles like Alice Through the Looking Glass, Independence Day: Resurgence and Star Trek Beyond, it’s caused calls for sequelitis as a way to explain their poor performances.

If we look closer at the year as a whole, this assumption is overly simplified. In fact, 7 out of the 10 top grossing films at the domestic box office are sequels, reboots, or remakes. This number holds steady at the worldwide box office. Faced with this tidbit, some may rephrase the argument as a rejection of sequels no one asked for. Cases where too much time had passed, or no one were really clamoring for a sequel. While this might explain the failure of a film like Alice Through the Looking Glass (299 million worldwide on a 170m budget), which was released six years after its predecessor. Once you dig deeper, you come across several titles that disprove that theory. Most notably My Big Fat Greek Wedding 2, which came 14 years after the original. With a 18 million dollar budget, the film grossed 88.9 million worldwide. However, despite the film’s success, it pales in comparison to the original’s haul of 368 million on a 5 million dollar budget.

This brings us to the core of the issue. A lot of these films are profitable, but not as successful as their respective studios would’ve liked. Box office success now becomes a debate about how profitable a film needs to be before it’s considered a hit. Consider films like X-Men: Apocalypse (543 million worldwide on a 178m budget), Ice Age: Collision Course (406 million haul on a 105m budget), Batman v Superman: Dawn of Justice (873 million haul on a 250m budget), and Independence Day: Resurgence (389 million worldwide on a 189m budget). These are all profitable films, which at the end of the day will give their studios a payday of varying size (some thanks to ancillary markets like DVD sales, and TV licensing) . However, they all represent cases of films not earning as much as a studio would’ve preferred. As such, they get tossed in with the box office bombs, explained away as sequelitis.

In reality, audiences went to see these films in sufficient numbers to at the very least break even. While they’re not smash hits, it’s misleading to claim they were a victim of sequelitis. At least in terms of overall box office results. The decline in total gross from film to film may be caused by a degree of franchise fatigue with a specific title, or a general disinterest in a project. However, their numbers aren’t that of a film that audiences rejected outright (i.e. the remake of Ben-Hur, which only grossed 94 million worldwide on a 100m budget).

In the grand scheme of things, sequelitis has not set in, neither at the domestic or worldwide market. There are films that struggle to find an audience, but they are more exceptions than the consistent pattern. Sequels are still the biggest business in Hollywood. Rather, the issue is a an industry that expects sky high numbers from every title they put out, and as a way to explain away a film’s failure to meet these expectations, they blame sequelitis, franchise fatigue, or any number of things when the film’s actual failings likely was caused by any number of other factors.

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NBA Legend Ray Allen Retires And ‘He Got Game’

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Movies and sports crossover from time to time. Hoosiers and Rudy are longtime classics. Space Jam is a late 90s gem (soon to get a sequel or reboot starring LeBron James). Today, 10-time NBA all-star Ray Allen, one of the greatest three-point shooters of all time, announced his retirement. Allen was famously in the 1998 Spike Lee film He Got Game starring opposite Denzel Washington.

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In He Got Game, Jesus Shuttlesworth (Ray Allen) is a burgeoning basketball superstar dealing with decisions about his future. It’s an all-too-familiar story of an impoverished youth with an incredible level of talent that can take him and his family out of poverty. Jesus must decide between going to college (the slow and steady path) or choosing to go for the fast money by heading straight to the pros.

Jesus is tempted with money and women by different people who want his talents. To make it all the more difficult, Jesus’ estranged father, Jake (Denzel Washington) wants Jesus to go to “Big State.” Jake, in prison for the accidental murder of Jesus’ mother, is being offered a chance at freedom by the governor. The deal is pending on if Jake can convince Jesus to go to Big State, the governor’s alma mater.


He Got Game
isn’t Spike Lee’s best film and it’s certainly not his worst. I’m looking at you She Hate Me and Miracle at St. AnnaHe Got Game has the usual touches of Lee’s visual skill while being a little too long and overindulgent at times. But what Spike Lee does so well, so often, is use multi-dimensional characters to make commentary on society and humanity. He Got Game succeeds on those levels. Considering Ray Allen is a basketball player, his performance in He Got Game is strong and convincing. Allen was a relatively new player at the time which helped illuminate Jesus’ inexperience. Denzel is Denzel who is always great and sports an awesome afro.

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Thanks for every minute on the court Ray Allen.

If you’ve never watched Ray Allen play click here for 10 great highlights from a record-breaking NBA career.

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’20th Century Women’ Trailer: Annette Bening Tries To Do Mom Things

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20th Century Women has a loaded cast, led by Annette Bening, and the first trailer looks good. If not a little Oscar-y:

In 1979 Santa Barbara, Calif., Dorothea Fields is a determined single mother in her mid-50s who is raising her adolescent son, Jamie, at a moment brimming with cultural change and rebellion. Dorothea enlists the help of two younger women — Abbie, a free-spirited punk artist living as a boarder in the Fields’ home and Julie, a savvy and provocative teenage neighbor — to help with Jamie’s upbringing.

You have Anette Bening, who might get that Oscar which has eluded her for too many years, but you also have Elle Fanning, Billy Crudup, Greta Gerwig, John Billingsly, and Laura Wiggins. Impressive lineup.

20th Century Women is directed by Mike Mills, whose Beginners nabbed Christopher Plummer his Oscar. He might have a knack for this sort of thing. We’ll see on Christmas Day when the movie opens.

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Original ‘Suspiria’ Star Jessica Harper Cast In Remake

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Jessica Harper, the original Suzy Bannion in Dario Argento’s 1977 horror movie Suspiria, has joined the cast of the remake according to Entertainment Weekly.  Considered a classic of Italian “giallo” cinema, Suspiria has enjoyed a long life thanks to its dreamlike atmosphere, lush cinematography, and pulsing, influential soundtrack by prog rock band Goblin.

Suspiria follows American dance student Susie, who travels to the Berlin’s famous Markos Tanz Ballet Company in 1977. She arrives as another of its dancers has been declared missing under suspicious circumstances. As Susie excels under the school’s headmaster Madame Blanc, she grows close to Sara, a fellow student who shares her beliefs that the school and dance company may be hiding  dark and menacing secrets.

Suspiria stars Dakota Johnson, Tilda Swinton, Chloe Grace Moretz, and Mia Goth. Originally linked to director David Gordon Green, the film is now being directed by Luca Guadagnino. It began shooting this past Monday in Italy for a 2017 release.

Below is the trailer for the original film.

https://youtu.be/B7UefOfcly4

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Catherine Keener Joins ‘Sicario’ Sequel, ‘Soldado’

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Catherine Keener, who is great in just about everything she does, has now joined Soldado, the sequel to last year’s Sicario.

According to The Playlist, Keener will be playing Josh Brolin’s (reprising his Sicario role) superior in the FBI:

“While not technically a sequel, “Soldado” will have many of the same characters and exist in the same world, but will be a standalone film in the series. Keener will play Brolin’s boss who struggles to figure out how to handle the not-so-legal tactics of Gillick and Graver.”

Benicio Del Toro (who should have been nominated) will also reprise his role in Soldado. Unfortunately Denis Villeneuve has been too busy – which, that’s the good part I suppose – to direct this one; on the plus side, Gommorah director Stefano Sollima has stepped in to direct. If you haven’t seen Gommorah, it’s definitely worth your time.

Let’s hope Catherine Keener’s role is more than just Tough Talking Superior Stuck In An Office Person. Soldado begins shooting early in 2017.

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Throwback Review: Miyazaki’s Masterpiece ‘My Neighbor Totoro’

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2016 is the year I started to appreciate and watch more anime. The medium is so rich with content that starting somewhere was overwhelming. Fortunately, a friend of mine made up a recommendations list with different shows and films to watch. While My Neighbor Totoro wasn’t on the list, another Hayao Miyazaki film, Princess Mononoke was, which led me to then watch the film I’ll be talking about here. Spoiler alert: I loved it. 

My Neighbor Totoro is such a simple story, which is where its greatness lies. Cinema brings messages and themes, and while Totoro too brings minor examples of both, it’s simply a fun story with amazing components.The film portrays childhood in its true nature, providing an escape from reality for anyone that watches it. If a film can be enjoyed, understood, and appreciated by anyone at any age, it’s a masterpiece.

There is a reason that Totoro is the mascot of Studio Ghibli; its art style, character design, and animation is perfect. Japanese art is distinct from Western style art, and My Neighbor Totoro takes full advantage of this difference; the characters’ creative design will be forever regarded as some of the best looking – especially the famous cat bus.

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The pace of this movie is interesting. For starters, it clocks in at a short 88 minutes, so by the half hour mark I started to wonder where the title character, Totoro, actually was. Not that I was complaining, as I was loving the development and story so far, it just seemed odd. After that, however, I understood why we spent over a third of the film dealing with the main characters’ new housing situation: It established who the sisters, Satsuki and Mei, were and set up their curious nature, which evolved and developed with the story. In many ways, the two main sisters were discovering new things along with the audience, which is why the film is so easy to understand and enjoy.

Truly, my only critique of My Neighbor Totoro is the unnecesary side-plot with the mother being sick. The story could’ve been just as well told and fun without the burden and weight of that part of the story.

Before closing out this review, I must mention how incredible the music is. The score is subtle but effective, and will be in your head for days.

https://www.youtube.com/watch?v=I1RhMA5NpsM

My Neighbor Totoro is a charming, feel-good family film that does its job perfectly. If you’re looking for a beautifully animated nostalgic adventure through two characters’ childhood, the film is for you.

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