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Cinema: The Whole Story
Christopher Frayling and Philip Kemp
Book
"Cinema: The Whole Story" takes a close look at the key time periods, genres and key works in world...
The Secret
Book
Regarded as a life-changing read by many readers, The Secret by Rhonda Byrne is a self-help book...
Chris Sawin (602 KP) rated Doctor Strange in the Multiverse of Madness (2022) in Movies
May 4, 2022
The noticeable Sam Raimi elements. (2 more)
The film is great when it's able to showcase horror.
The second end credits sequence is amazing.
The film is incredibly formulaic outside of its horror elements. (2 more)
You don't really care about any of the new characters.
No one is going to get that first end credits sequence.
Sam Raimi Finally Brings Horror to the MCU
Even with all of the universe jumping and Sam Raimi being able to add his filmmaking trademarks, Doctor Strange in the Multiverse of Madness is a bit too formulaic for its own good. Doctor Strange (Benedict Cumberbatch) has been having dreams of a different version of himself dying while seeking a mythical book known as The Book of Ashanti. In his dream, Strange encounters America Chavez (Xochitl Gomez), a young girl with the uncontrollable power of universe jumping.
But then Strange meets America in his universe and learns that dreams are actually us seeing different versions of ourselves in different universes. Still blinded by the events in WandaVision, Scarlet Witch (Elizabeth Olsen) intends to capture America and utilize her universe jumping ability to reunite with the children she created with magic.
Doctor Strange in the Multiverse of Madness relies on what feels like a simplistic storyline to drive what is essentially the MCU’s first horror film. Strange really only seems driven to protect America because he dreamed about her and Wanda Maximoff has only turned evil because there’s suddenly this very thin line between being a mother and becoming a monster. Most of the film feels like a typical MCU film featuring the standard humor and wisecracking you’ve come to expect from superhero films along with the fate of the world (and possibly every other) probably being at stake.
The most refreshing moments of Doctor Strange in the Multiverse of Madness are the moments that you can tell Raimi had a hand in writing, directing, or having some sort of input in some capacity. This is Raimi’s first directorial gig since 2013’s Oz: The Great and Powerful and it becomes quite obvious that audiences have missed his work. The Shuma Gorath sequence (renamed Gargantos for trademark purposes) is outstanding. Doctor Strange, Wong, and America battling a giant one eyed octopus is something so awesome that it kind of writes itself. Not only is it the film’s first big action sequence, but you can see a lot of Doctor Octopus and Spider-Man 2 influences as Gargantos destroys skyscrapers and gets his tentacles chopped off. The slicing of the bus as it’s thrown at Doctor Strange and America is also legitimately one of the coolest moments of the film.
There is a ton of homage to Evil Dead and Drag Me to Hell buried within the film. The final 20 minutes are overflowing with concepts seemingly pulled from classic Sam Raimi films. Doctor Strange in the Multiverse of Madness revolves around a book of the damned not unlike the Necronomicon. There are at least two major eyeball gags and a ridiculous amount of burning candles in the film. Like most Sam Raimi films, there’s an emphasis on corniness. His sense of humor has always been on the corny side and the heartfelt moments always seem to be milked and over exaggerated ever so slightly. All of these elements are in Doctor Strange in the Multiverse of Madness and they are the moments that make the film feel more unique in comparison to the other 28 films in the MCU.
Strange saves America from Scarlet Witch by knocking her and himself into her own star shaped portal that sees them both falling through multiple universes. It’s a gloriously disorienting sequence, but it’s also incredibly similar to not only what we saw in the first Doctor Strange film but also a lot like the 700 space jumps in Guardians of the Galaxy Vol. 2. This film is meant to open the door even further when it comes to the cosmic side of the MCU and now the horror side of it as well. Doctor Strange in the Multiverse of Madness is not Spider-Man: No Way Home. There are not a ton of nostalgic cameos sprinkled throughout the film. There’s one sequence that combines fan speculation and other universes, but there aren’t a lot of hidden cameos like the internet speculated.
What is perhaps most interesting about this superhero sequel is that Stephen Strange is still learning to be more humble. His only play during Infinity War that ended up costing so many their lives for five long years is still weighing heavily on his mind. He also still loves Christine (Rachel McAdams) despite the fact that she’s moved on and struggles with whether he’s now happy or not. Throughout the film he’s constantly compared to the Doctor Strange of that universe and yet the film goes out of its way to show that this Doctor Strange is different. He will break the rules if he has to, but he will only do so when it’s the only option.
With so many universes and alternate versions of himself, it was naturally only a matter of time before Doctor Strange would have to fight himself. The musical note war Strange has with the Darkhold obsessed version of himself in the collapsed universe in the second half of the film does some really intriguing stuff with musical notes that essentially borrows visuals from the Chuck Jones directed animated short, “High Note,” from 1960 as well as the battle or reactionary element found in video games such as Dance Dance Revolution and Guitar Hero. It’s an unusual fight that seems to be inspired solely by Strange bumping into a piano during the magical brawl.
Doctor Strange in the Multiverse of Madness is dark, silly, and fan pleasing. The film is at is most bewitching when Sam Raimi can let his horror roots be showcased. It will satisfy horror and superhero film fans alike, but would have and could have been even better if Raimi was allowed to dive even further into the horror genre. Be sure to stay after the credits, as well. There are two after credits sequences with the final one being so absurdly on the nose for Sam Raimi that it may be the most entertaining part of the film.
But then Strange meets America in his universe and learns that dreams are actually us seeing different versions of ourselves in different universes. Still blinded by the events in WandaVision, Scarlet Witch (Elizabeth Olsen) intends to capture America and utilize her universe jumping ability to reunite with the children she created with magic.
Doctor Strange in the Multiverse of Madness relies on what feels like a simplistic storyline to drive what is essentially the MCU’s first horror film. Strange really only seems driven to protect America because he dreamed about her and Wanda Maximoff has only turned evil because there’s suddenly this very thin line between being a mother and becoming a monster. Most of the film feels like a typical MCU film featuring the standard humor and wisecracking you’ve come to expect from superhero films along with the fate of the world (and possibly every other) probably being at stake.
The most refreshing moments of Doctor Strange in the Multiverse of Madness are the moments that you can tell Raimi had a hand in writing, directing, or having some sort of input in some capacity. This is Raimi’s first directorial gig since 2013’s Oz: The Great and Powerful and it becomes quite obvious that audiences have missed his work. The Shuma Gorath sequence (renamed Gargantos for trademark purposes) is outstanding. Doctor Strange, Wong, and America battling a giant one eyed octopus is something so awesome that it kind of writes itself. Not only is it the film’s first big action sequence, but you can see a lot of Doctor Octopus and Spider-Man 2 influences as Gargantos destroys skyscrapers and gets his tentacles chopped off. The slicing of the bus as it’s thrown at Doctor Strange and America is also legitimately one of the coolest moments of the film.
There is a ton of homage to Evil Dead and Drag Me to Hell buried within the film. The final 20 minutes are overflowing with concepts seemingly pulled from classic Sam Raimi films. Doctor Strange in the Multiverse of Madness revolves around a book of the damned not unlike the Necronomicon. There are at least two major eyeball gags and a ridiculous amount of burning candles in the film. Like most Sam Raimi films, there’s an emphasis on corniness. His sense of humor has always been on the corny side and the heartfelt moments always seem to be milked and over exaggerated ever so slightly. All of these elements are in Doctor Strange in the Multiverse of Madness and they are the moments that make the film feel more unique in comparison to the other 28 films in the MCU.
Strange saves America from Scarlet Witch by knocking her and himself into her own star shaped portal that sees them both falling through multiple universes. It’s a gloriously disorienting sequence, but it’s also incredibly similar to not only what we saw in the first Doctor Strange film but also a lot like the 700 space jumps in Guardians of the Galaxy Vol. 2. This film is meant to open the door even further when it comes to the cosmic side of the MCU and now the horror side of it as well. Doctor Strange in the Multiverse of Madness is not Spider-Man: No Way Home. There are not a ton of nostalgic cameos sprinkled throughout the film. There’s one sequence that combines fan speculation and other universes, but there aren’t a lot of hidden cameos like the internet speculated.
What is perhaps most interesting about this superhero sequel is that Stephen Strange is still learning to be more humble. His only play during Infinity War that ended up costing so many their lives for five long years is still weighing heavily on his mind. He also still loves Christine (Rachel McAdams) despite the fact that she’s moved on and struggles with whether he’s now happy or not. Throughout the film he’s constantly compared to the Doctor Strange of that universe and yet the film goes out of its way to show that this Doctor Strange is different. He will break the rules if he has to, but he will only do so when it’s the only option.
With so many universes and alternate versions of himself, it was naturally only a matter of time before Doctor Strange would have to fight himself. The musical note war Strange has with the Darkhold obsessed version of himself in the collapsed universe in the second half of the film does some really intriguing stuff with musical notes that essentially borrows visuals from the Chuck Jones directed animated short, “High Note,” from 1960 as well as the battle or reactionary element found in video games such as Dance Dance Revolution and Guitar Hero. It’s an unusual fight that seems to be inspired solely by Strange bumping into a piano during the magical brawl.
Doctor Strange in the Multiverse of Madness is dark, silly, and fan pleasing. The film is at is most bewitching when Sam Raimi can let his horror roots be showcased. It will satisfy horror and superhero film fans alike, but would have and could have been even better if Raimi was allowed to dive even further into the horror genre. Be sure to stay after the credits, as well. There are two after credits sequences with the final one being so absurdly on the nose for Sam Raimi that it may be the most entertaining part of the film.
MissCagey (2652 KP) rated Wonder Woman (2017) in Movies
May 2, 2018
I really don't understand all the great reviews this film is getting. I am not a comic book hero fan in general but this was one I was so excited to watch as I LOVED the Wonder Woman tv show when I was younger. I wanted to be Wonder Woman, I dressed as her for a fancy dress....I thought she was AMAZING! When she spun around into her costume, the primary colours, the excitement....just brilliant. And then we have this shambles of a film to honour her, oh dear.
Her costume is drab, the cinematography is drab (other than Themyscira), the story is boring, Gal Gadot can't pick an accent she wants to use the whole way through, the villain is crap, her morals flip flop- she hates war and cries about it and then brings down a church (which contained one sniper) not caring if there are any civilians around, blah blah blah. So disappointing.
Her costume is drab, the cinematography is drab (other than Themyscira), the story is boring, Gal Gadot can't pick an accent she wants to use the whole way through, the villain is crap, her morals flip flop- she hates war and cries about it and then brings down a church (which contained one sniper) not caring if there are any civilians around, blah blah blah. So disappointing.
Vegas (725 KP) rated The Guest House in Books
Jan 24, 2020
Keeps you guessing (2 more)
Atmospheric
Great setting
Can picture this as a good film
7 people in a remote house in Ireland, booked as a B&B through an online app. A family of 3, A man and his father and 2 young ladies, both on their own.
The weather sets in and strange things start happening, from food and drink going missing to sounds of a child crying and power cuts, but when a body is found, things can only get worse...
You learn a lot obout the history of the house, the back ground of the guests, with some of the story told in flashback form, and it is difficult to try and second guess what is going to happen.
The author manages to make the setting very atmospheric and you can almost feel the tension and pressure they are suffering through the narrative...
If you are a fan of psychological thrillers either as a book or film you should enjoy this.
The weather sets in and strange things start happening, from food and drink going missing to sounds of a child crying and power cuts, but when a body is found, things can only get worse...
You learn a lot obout the history of the house, the back ground of the guests, with some of the story told in flashback form, and it is difficult to try and second guess what is going to happen.
The author manages to make the setting very atmospheric and you can almost feel the tension and pressure they are suffering through the narrative...
If you are a fan of psychological thrillers either as a book or film you should enjoy this.
Euro-Western: Reframing Gender, Race and the 'Other' in Film
Book
The Western has always been inextricably linked to the USA, and studies have continually sought to...
TM
The Maciste Films of Italian Silent Cinema
Book
Italian film star Bartolomeo Pagano's "Maciste" played a key role in his nation's narratives of...
MR
Music Rights Unveiled: A Filmmaker's Guide to Music Rights and Licensing
Book
Music Rights Unveiled provides an inside look at the complex world of music rights for film and...
Coppola's Monster Film: The Making of Apocalypse Now
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In 1975, after his two Godfather epics, Francis Ford Coppola went to the Philippines to film...
BankofMarquis (1832 KP) rated Klaus (2019) in Movies
Jul 28, 2020 (Updated Dec 24, 2020)
Visually Interesting - with strong voice performances
We have seen the Origin story of Santa Claus many times and in many ways over the years, so it was with some trepidation that the BankoMarquis ventured forth to check out the Netflix original film KLAUS which covers some very similar territory.
And I need not worry, for KLAUS is a visually interesting film with some very good voice performances that elevates a (relatively) by-the-book story into quite a delightful film experience.
Directed and Written by Sergio Pablos - a veteran animator with credits like Disney’s Tarzan, Despicable Me, Rio and Smallfoot - KLAUS tells the tale of…Jesper, a mailman who is also a privileged youth who’s lackluster ways runs him afoul of his father and he is banished to a remote, Northern country where her runs afoul of…KLAUS.
And…you can probably figure out where the story goes from there, but it is not the story - or the destination - that matters, it is the journey. And…what a wonderful journey it is.
Let’s start with the best part - this film is GORGEOUS to look at. Pablos uses hand drawn animation with lighting techniques taken from digital animation and the result is crisp, clean and stunning to look at. I will watch this film again, just to look at the visuals.
As for the voice casting - it is stellar - with one, small quibble. The great J.K. Simmon is…well…GREAT as Klaus. His deep baritone voice is perfect for the enigmatic hermit that is hiding secrets - and a heart of gold. Rashida Jones, Will Sasso, Norm MacDonald and the always brilliant Joan Cusack add their tremendous voices to the proceedings very well. My only quibble is with the work of Jason Schwartzman as Jesper, the character we follow throughout the film. I found his voice and character grating at times (I know this is on purpose, so Schwartzman did a good job in his work) but, I would have liked to have Pablos “tone down” the lead character just a bit.
But that is a “quibble” in a very entertaining movie that is a wonderful family film that can be enjoyed on different levels - and for different reasons - by children and adults alike.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
And I need not worry, for KLAUS is a visually interesting film with some very good voice performances that elevates a (relatively) by-the-book story into quite a delightful film experience.
Directed and Written by Sergio Pablos - a veteran animator with credits like Disney’s Tarzan, Despicable Me, Rio and Smallfoot - KLAUS tells the tale of…Jesper, a mailman who is also a privileged youth who’s lackluster ways runs him afoul of his father and he is banished to a remote, Northern country where her runs afoul of…KLAUS.
And…you can probably figure out where the story goes from there, but it is not the story - or the destination - that matters, it is the journey. And…what a wonderful journey it is.
Let’s start with the best part - this film is GORGEOUS to look at. Pablos uses hand drawn animation with lighting techniques taken from digital animation and the result is crisp, clean and stunning to look at. I will watch this film again, just to look at the visuals.
As for the voice casting - it is stellar - with one, small quibble. The great J.K. Simmon is…well…GREAT as Klaus. His deep baritone voice is perfect for the enigmatic hermit that is hiding secrets - and a heart of gold. Rashida Jones, Will Sasso, Norm MacDonald and the always brilliant Joan Cusack add their tremendous voices to the proceedings very well. My only quibble is with the work of Jason Schwartzman as Jesper, the character we follow throughout the film. I found his voice and character grating at times (I know this is on purpose, so Schwartzman did a good job in his work) but, I would have liked to have Pablos “tone down” the lead character just a bit.
But that is a “quibble” in a very entertaining movie that is a wonderful family film that can be enjoyed on different levels - and for different reasons - by children and adults alike.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)