Doctor Strange and the Multiverse of Madness - Could Have Used More of Both

Streaming on Disney+ 

    Recently, the Marvel Cinematic Universe (MCU) appears to be experiencing a nebulous state. After peaking with the grand finale of The Infinity Saga with Avengers: Endgame (arguably), most of the Marvel projects, with a few notable exceptions, feel like they are struggling in some way. They're not losing their audience, but they feel they want to evolve in some way yet are held back for no apparent reason. My best speculation is that the MCU has reached a point where it needs and wants to grow up and explore more mature themes and narratives. However, the powers at Disney are still too afraid to do anything that doesn't appeal to the family-oriented demographic, and their few attempts to do otherwise haven't had the warmest of receptions nor the best of executions. 

    To that end, consider today's subject, Doctor Strange and the Multiverse of Madness, a Marvel movie touted as their first "horror" film with a genuinely fantastic idea with tons of potential that, regrettably, doesn't stick the landing as well as it could have. It has great moments, decent ideas, and clever bits here and there that prevent the film from being dull or lackluster. Still, the film's focus appears misguided, trading clever ideas and great potential for narrative training wheels and short-lived fan service. If Marvel is serious about branching out and exploring new ideas, this may not be their best first step, but, at the very least, it is still the first step. 

    A fair warning to some of my beautiful readers. If you have not been following the Marvel films and/or television shows, some of what I am about to discuss will sound incredibly alien and almost non-sensical. To that end, please bear with me, and I shall do my best to keep everyone on the same page. 

    The story follows Dr. Stephen Strange (Benedict Cumberbatch), Marvel's resident Wizard and master of all things magical and unusual. Lately, he's been having strange nightmares about a mysterious young girl and what appears to be alternate versions of himself. One day, after encountering a dangerous monster, he meets the young girl from his dreams. Her name is America Chavez (Xochitl Gomez), and she has the power to travel through The Multiverse: a vast plane of various timelines and realities. She cannot control her power and has been hopping between Universes for years, trying to find help to hone her gift. Offering his assistance, Doctor Strange seeks the counsel of another fellow magic user, Wanda Maximov, a.k.a The Scarlet Witch (Elizabeth Olson). However, he soon discovers that Wanda, still traumatized by the events of Wandavision, has fallen into a dark place and wants to use America's power for her own desires, regardless of how dangerous or even deadly it could be. Doctor Strange must now face off against The Scarlet Witch and protect America, even if it means traveling through the Multiverse and facing all the risks that follow.

    First, let me go over the aspects of the film I liked. 

    Everyone's performances, especially Elizabeth Olson's, are top-notch and engaging. The action scenes are visceral and exciting (as are the special effects). The few bits of Multiverse travel we experience (more on that later) are lots of fun and potentially promise more exciting events to follow. America Chavez is a delightful and engaging character worthy of the MVP award, and I hope to see more of her in the future. The film receives many bonus points for embracing the inherent silliness of its comic book origins and having fun with it all. Finally, the few "horror" elements that get to shine through are a welcome first step towards exploring different sub-genres with the Marvel films. 

    And...that's about it. Let's move on to the things that didn't quite work for me. 

    For a movie with the subtitle "Multiverse of Madness," not much of the Multiverse is explored, and there's not much madness to go around. The film is attempting to emulate and invoke the works of H.P. Lovecraft: stories that explore and contemplate our tiny insignificant place in the vastness of the cosmos, attempting to make peace with the unknown and unusual depths of the Universe. While the film does accomplish this to a degree, it becomes less interested in exploring those mature themes and more focused on setting up future movies. Not to mention bits of fan service that ultimately don't serve much of a purpose to the present narrative. 

    Plus, there was an opportunity to explore tons of different worlds and iterations of characters with this particular story. Yes, that does happen, but I can't help but feel like they should have done more with the concept. Without spoiling too much, they only travel to two different universes, and only one of them has anything worth exploring. And even then, it's taken away as quickly as it was introduced. It felt less like an exploration of something neat and more like a proclamation of things yet to come. Which I understand is par for the course with Marvel, but must it still be so needlessly blatant? 

    Director Sam Raimi, best known for classic works of horror like The Evil Dead and Drag Me to Hell, not to mention the first run of the live-action Spider-Man movies before the MCU, gets to do his usual intense style with the film. While his style is appreciated and well-executed, it sometimes feels like he wants to do more but is needlessly restricted by the PG-13 rating. His trademarks can be seen throughout the film, and they are appropriate for this particular story. Things like rapid camera movement and well-timed jump scares all solidify that this is a Sam Raimi movie. It's just too bad that he doesn't get to go completely off the rails like he wants to. 

    Doctor Strange and The Multiverse of Madness is not a bad film nor an excellent one. It's a primarily fun roller coaster ride that introduces a few new exciting things to look forward to with future installments while providing talented actors the opportunity to explore and showcase their range. However, it doesn't take as much advantage of its fantastic concept as I might have preferred, and as a result, while I still enjoyed myself, it ultimately left me a bit disappointed. Hopefully, future installments will continue to push the envelope and contribute to the evolution (or mutation *wink*) of the MCU. 

    You don't have to be stoned to enjoy this movie, but it might enhance the experience slightly. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

The Outfit (2022) - Tailor-Made Perfection

 

Streaming on Peacock 

For rent on Apple TV and Amazon 

    The Outfit feels like a film that could easily adapt into a stage play: It's a character-driven thriller set in a single location with the dialogue and performances carrying most of the forward momentum. Typically, this particular style of cinema doesn't translate well because most stage plays tend to require the unique magic of a present theater audience. Case in point, Proof by David Auburn (one of my favorite plays) is written with a live audience in mind so distinctly that despite the film adaptation featuring the likes of Gwyneth Paltrow, Jake Gyllenhaal, and Sir Anthony Hopkins, the film version feels forced and unnatural, unlike when performed on stage. This isn't to say that stage plays could never adapt well to the silver screen, just that it requires more than merely copying/pasting the dialogue and throwing in some dramatic shots here and there to make it work. 

    Set in Chicago in the late 1950s, the story follows a professional British tailor (sorry, cutter) named Leonard (Mark Rylance). He owns and operates a suit-making shop where he makes fine suits and provides a drop box for Mafia payments. One night, a few mafiosos enter his shop on the run from the police after a failed bust. The feds are on to them with a tape recording of their dealings. They have the tape but are uncertain of what to do next. From there, the story dives headfirst into a series of unexpected events, strange story turns, and plot twists you might not see coming. 

    As I have mentioned, films like this live and die by the performances and the dialogue. While it can take a little while for the story to get moving, once it does, it gets you hooked pretty quickly. Most of that comes from the Mark Rylance and his subtle yet powerfully gripping performance. Through his calm demeanor, there is an underlying sense of something darker that seldom comes to light. That is, until the very end, which I won't spoil here, but I will say this: it may be a bit cliche (for want of a better word), but it is still effective. 

    Another excellent and appreciated aspect of the film is its bits of social commentary on a few important things today. Again, I won't spoil what they are here, but I will say that more movies need to do this more often. 

    The Outfit is a solid thriller with top-of-the-line performances and some of the sharpest writing I've seen in a while. Absolutely, without question, check this one out. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

7/14/22

We Are Under Attack - Fight Back

 

We are under attack by The Supreme Court of the United States. 

FIGHT BACK!!!

Shaving Cream Tells All

 

    In 1993, legendary filmmaker Steven Spielberg released one of his greatest blockbusters, Jurassic Park: the science fiction story penned by the late Michael Crichton about genetically recreated Dinosaurs living in modern times. It is one of the greatest movies ever made with ground-breaking special effects, memorable characters, and a relevant story about the dangers of mistaking the difference between enthusiasm and meddling with nature. 

    In the years since the first film, there have been five follow-up films, including a brand new one released earlier this month, which, as of this writing, I have not yet seen, nor do I have any desire to do so. 

    After sitting through every other attempt at recapturing the lightning in a bottle that was the first movie (from The Lost World to the dumbest and laziest toy commercial pretending to be a movie that was Jurassic World: Fallen Kingdom), I have no reason whatsoever to even offer the latest outing the benefit of the doubt. 

    While I cannot pass any judgment on the movie itself, I do believe I can assess the likelihood of how terrible it is. While there is no shortage of other reviews for this movie, ranging from "okay" to "abysmal," there is one single aspect of the film that, in my opinion, ultimately confirms my suspicions as to how unbelievably stupid the movie must be, and best exemplifies the final death knell of the Hollywood system. 

    And it all comes down to a simple canister of shaving cream. Please, let me explain. This is not a review; merely an observation. 

    Spoilers from here on out! 

    In the first film, one of the plot points involved a rival business tycoon named Dodgson wanting to steal Dinosaur embryos to create his own Dino-themed attraction. The plan involves bribing one of the park's employees (a computer expert named Nedry) to hack into the security system, steal the embryos, and escape the Island. Nedry is given a fake canister of shaving cream for transporting the embryos, with just enough coolant to keep the embryos fresh for less than a day. 

    Some of you might be wondering why I am bringing this seemingly unimportant plot point to your attention. The answer is two-fold: 

    First, after filling the canister with the embryos and attempting to make his way to the docks to escape the Island, the would-be thief meets his untimely death at the teeth of a deadly Dino, and the canister containing the embryos winds up lost in the mud, buried and forgotten. 

    Second, according to at least two different reviews for the latest movie, Jurassic World: Dominion, not only does Dodgson, in addition to the original cast of protagonists, make a return in the film, but they also included, apparently, the very same can of shaving cream, which has apparently now been in Dodgson's possession for the past thirty years. 

There are no images of this to show you. 

I looked. 

    This may very well be not only the single stupidest aspect of the film in question, but it is also incredibly symptomatic of the biggest problem with the Hollywood system as a whole and showcases how stupid they seem to think we all are. 

    First, there is no logical or narrative justification for Dodgson to even have the canister of shaving cream in his possession. Assuming he traveled to the Island after the heroes had all been evacuated, by the time he found the thing, assuming he ever could have, the embryos inside would all likely have died. Let's not forget by this point in the story, everyone involved has decided not to go forward with opening the park, and the Island was likely isolated from the rest of the world. Not even a rival tech millionaire would have likely been able to sneak a team of searchers onto the Island less than a day after the initial disaster. 

    Second, even if Dodgson succeeded in finding the canister still containing unsalvagable Dino DNA, why would he have kept it all this time? If you're prepared to pay someone to commit what amounts to corporate espionage and sabotage, I seriously doubt you're the sentimental type. 

    Third, according to the other reviews of the film, Dodgson is now a Steve Jobs wannabe who has created genetically modified Locust to destroy all of the world's food crops except his own genetically modified ones to gain a monopoly on the worlds food supply. This is apparently the plot of the entire movie. Remember that this film takes place in a world where Dinosaurs are now co-existing with humans, which is infinitely more exciting and compelling for a narrative. What makes them think audiences would be more interested in yet another round of stupid mustache-twirling evildoers when there are Dinosaurs in the streets? 

    

    Again, I must stress that I have not seen the movie. Given how mentally draining and emotionally frustrating the last Jurassic World movie was, I could not even try with this latest trainwreck. So, while I have no doubt about the validity of the other reviews I have read and seen, I see no reason to add any more fire to the flame. 

    However, I feel that I can use this little piece of trivia to comment on what it represents as a whole, which is an even more significant issue than the apparent stupidity of the movie: 

    Hollywood has finally hit the peak of its addiction to nostalgia! 

    While it's no secret that nostalgia has become a hot commodity in cinema, it has become unbelievably overbearing in recent years, to the point where the corporate heads in Hollywood are grasping at straws. The only reason the latest Jurassic World movie has Dodgson (and the canister of shaving cream) is because they are recognizable elements from the first movie, and that is it! Despite there being no narratively sound or justifiable reason for either of them to be there, someone at Universal Studios demanded it purely out of desperation. The same goes for roping in the original cast from the first movie. 

    I cannot encourage nor discourage you, my beautiful readers, from seeing the movie because it is not fair for me to do so, having not seen it. Even so, I can't help but feel that this is likely one of the few times an exception can be made, at least to a degree. I cannot say anything of the film's quality, but I can say that, based on what everyone else has said so far, it does not sound like it would be worth anyone's time at all. Especially not my own. 

    Therefore, think of this blog entry not as a review of the movie but as the final declaration that Hollywood, as we once knew it, maybe forever lost to us. Perhaps it will learn the error of its ways and seek redemption in some way, but until then, as far as I'm concerned, the only things I will continue to look forward to the most from Hollywood are Marvel films and Mike Flannagan ghost stories. Maybe the occasional Tom Crusie movie. Hey, say what you will about him as a person (believe me, there's a lot to say), but at least the man knows how to make a fun and invigorating movie, especially with his Mission Impossible franchise!

Ladies and gentlemen, I am TheNorm; thank you all for reading. 

Retro Review - Tom Hanks' Electric City (2012)

 

    Treasure. A word that describes something valuable and precious. A word that can pertain to many things or people in our lives. It can be several things in cinema and other visual media: a unique program you recorded on VHS on a late Saturday night, a rare copy of an obscure film, or maybe a home movie you made with your dad's video camera without his permission. Whatever it may be for you, "treasure" is the perfect word to encapsulate today's subject, Electric City. An animated mini-series created by the most excellent person in Hollywood, Tom Hanks. The story of a future where humanity has rebuilt itself from the ground up, only to find itself (unknowingly) at the mercy of a knitting club. Trust me, it's much more fascinating than I'm making it sound. 

    Set in the distant aftermath of a prolonged and mysterious war, society has reverted to the old-west style of living. While electrical power is still around, it has become a rare commodity, challenging to generate, and heavily regulated by the totalitarian underground government: a group of women who secretly took over the city's previous controllers and have been operating as covert governors ever since. They enforce their will in the city through their special agents, known as grid operatives, who perform the tasks most others aren't willing to do. 

    One such operative is a man named Clevland Carr (Tom Hanks). He is the right hand of the leader of the underground government, Mrs. Ruth Orwell (Holland Taylor), a calculating and intelligent leader who will stop at nothing to protect her city. In his own words, he lives "in the shadows between truth and consequence." According to Mrs. Orwell, there is a surge of people overusing electrical power for their tap machines: a new form of morse code for distant communication. A luxury enjoyed by many, but at the cost of much-needed electrical power for heaters come winter. 

    Further complicating matters is a group of underground resistance fighters seeking to liberate the city and provide an alternative option for living in their brave new world. 

    Cleveland Carr is tasked with tracking these tap users & manufacturers and shutting them down with extreme prejudice. 

    The series can best be described as a neo-noir post-apocalyptic drama emphasizing compelling characters, stunning visual styles, and nuanced commentaries on the human condition. Exploring relevant themes such as freedom of information and justification of horrible actions. It's the kind of story with no clear heroes or villains because everyone involved in the narrative has a sympathetic reason for who they are and why. With a few exceptions, no one is loved nor hated; just understood. 

    That's not to say that all of the character's actions are justified, only to say that there is no honest answer as to their validity. Under the circumstances of the narrative, some actions seem to make sense, despite how much you likely don't agree with them. It causes you to genuinely examine the story and the events therein in the real world. Because not only is it possible for our own society to become like the one found in this story, many places are already like it. 

    The visuals and animation style are breathtaking. Electric City chooses a more traditional hand-drawn style in an age when computer animation tends to dominate the landscape. This classic format provides the show with a greater sense of old-fashionedness and better illustrates the intended tone of the story. 

    According to Mr. Hanks himself, making the show animated (and airing it exclusively on Yahoo) was twofold: to showcase that animation is a universal medium not exclusive to children's entertainment and demonstrate how the internet can be a powerful source for storytelling. A concept that would prove itself more accurate as the age of streaming services came to rise. 

    By now, I hope I have sparked your interest in this series. It is one of the few genuinely mature works of western animation helmed by one of Hollywood's most extraordinary talents. Sadly, despite the show's fantastic quality, it is fading away into obscurity, and I cannot, in good conscience, allow that to happen. 

    There are physical DVD copies of the series, but they are apparently only formatted for outside the USA. Plus, it is damn near impossible to search for. For a time, the entire series was available on an IOS app, which is one of the ways I rediscovered it, but it is no longer functional on the latest IOS firmware update. 

    The good news is that the entire show is available to stream on YouTube (link below). It can also be found on a few Vimeo channels here and there. Whatever way you can find and watch this series, I highly encourage you to do so as soon as possible. It is possibly the rarest of rare gems in episodic storytelling. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

ALL IN SERVICE TO ALL

Electric City on YouTube

I'm still here

 Hey everyone, 

    I'm sorry I haven't been active lately. Things have been rather busy for me. With summertime rolling in and a few potentially exciting movies on the horizon, I should have plenty of material to work with. Rest assured, whatever looks worthy of our screentime, I'll make sure you know about it from yours truly. 

Ladies & gentlemen, I am TheNorm; thank you all for still reading.