Distracted driving is dangerous.
After a horrific accident threatens to cut short both Dr. Stephen Strange’s illustrious career and his life, the battered yet proud and determined surgeon’s journey through physical and emotional rehabilitation soon grants him not only the regained use of his finger dexterity but also the power to travel among dimensions and to manipulate space and time.
He’s a compelling character, with an ego that early on screams importance and the medical abilities to back it up, and a reliably standout performance from Benedict Cumberbatch makes him engrossing to watch, as do the visual splendor and the generally solid writing. This becomes a story that reminds us why origin stories are worth enjoying.
Doctor Strange doesn’t reinvent the genre wheel, but in a way it’s a better film for that.
Guillermo del Toro’s period romance turned horror tale turned stage drama is an interesting but odd film, whose mixture of genres results in a story that feels barebones but nonetheless offers incredible visuals and atmosphere thanks to its stunning architecture and disturbingly convincing special effects. The writing could use more confidence along the lines of del Toro’s own Pacific Rim or the engrossing genre-blend Pan’s Labyrinth, but this is still a gorgeous movie that would simply benefit from more character depth and quicker pacing to back up its amazing set pieces.
Edith Cushing saw a ghost when she was ten. It was her mother’s, who gave her only a vague warning: Beware of Crimson Peak. Years passed, and Edith seemed happy and doing well for herself, her dress suggesting prestige and grandeur. She’d spent her time constructing a manuscript, using a ghost not as the center of a plot but as a metaphor for the past. Her publisher, not particularly progressive toward women or their narrative tastes, insisted on a love story.
One like this would give him more than he bargained for.