Stars: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Tilda Swinton
Release date: October 27th, 2016
Distributor: Walt Disney Studios Motion Pictures
Running time: 115 minutes
Best part: The energetic performances.
Worst part: Another weak MCU villain.
Unquestionably, the Marvel Cinematic Universe is an unstoppable machine. Disney won big after purchasing the comic book/movie juggernaut. Since the series’ humble beginnings, with 2008’s Iron Man, Disney and co. have delivered mini-franchises, spin-offs and origin stories without quit.
Doctor Strange is the latest B/C-list character – following Iron Man, Ant-Man, the Guardians of the Galaxy etc. – to receive a breakout blockbuster. The opportunity gives Marvel characters new time in the spotlight. The franchise’s latest adventure delivers yet another major superhero origin. We meet egotistical neurosurgeon Dr. Steven Strange (Benedict Cumberbatch) conducting a miracle procedure. The award-winning, super-rich professional places reputation ahead of connection. On his way to a presentation, Strange is mangled in a horrific car accident. Nerve damage prevents Dr. Strange from continuing his life’s work. He heads to Nepal, convinced the Ancient One (Tilda Swinton), and secret compound Kamar-Taj, can cure him. Whilst working alongside side-mentor Mordo (Chiwetel Ejiofor) and librarian Wong (Benedict Wong), Strange meets dark-magic-afflicted former student Kaecilius (Mads Mikkelsen).
After 14 installments, the MCU formula is more pronounced than ever. Almost all of them feature a cocky hero brought down by a tragic experience, re-building themselves with money and powers, encountering a plucky love interest, finding the villain/s responsible and destroying the world-ending/blue-beam-in-the-sky threat. Doctor Strange follows said template to the letter. In fact, this one cherry picks specific elements from each movie. Like Iron Man, the first third develops our lead character as being super smart and even more unlikable. He can do anything: pick and choose intricate surgeries, bound around with a boisterous smile, list every song and its history etc. Director and co-writer Scott Derrickson (Sinister, Deliver Us From Evil), along with fellow writer C. Robert Cargill, expertly depict his rise and fall via heart-wrenching, somber montage.
Doctor Strange‘s multitude of realms and abilities is overwhelming.Derrickson and co. continually transition between origin story tropes, training montages and exposition. They revel in trippy dream sequences and flashbacks. However, the astral plane/mirror dimension sequences are jaw-dropping. As Strange delves deeper, Derrickson provides more time-and-space-bending set-pieces. The prologue provides a kick-ass introduction to MCU’s cosmic ether. The Ancient One and Kaecilius fragment London streets. From MC Esher city sequences to impressive production design, the movie truly reaches for the stars. Its A-list cast give nuanced performances in out-there roles. Cumberbatch is a welcome addition, down-playing every note with verve. Swinton and Ejiofor are charming in valuable roles. However, Mikkelsen is the latest white, middle-aged character-actor portraying a forgettable MCU villain.
Doctor Strange is a hyperkinetic and enjoyable MCU extender. Derrickson wrangles a starry cast, falls into line and fits Jon Favreau’s breezy tone. It provides enough nuances to stand out from the pack. However, this franchise might just have peaked with Captain America: Civil War.
Writer: John Ridley (screenplay), Solomon Northup (book)
Stars: Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano
Release date: January 10th, 2014
Distributor: Fox Searchlight Pictures
Running time: 134 minutes
Best part: McQueen’s direction.
Worst part: The slightly exasperating run-time.
Docudramas, popular during Oscar season, take exasperating true stories and transform them into celluloid masterpieces. From small-screen mini-series’ to big-screen historical epics, these docudramas strive to inspire, inform, and enlighten. This description may seem clichéd, but the information is necessary and appropriate for this review. Docudramas, despite the vast number of them released each Oscar season, provide interesting insights into shocking and influential events. Several holocaust, slave, and war dramas – 1977 TV special Roots, in particular – have re-shaped Hollywood conventions. Before heading into highly anticipated slave-drama 12 Years a Slave, filmgoers must understand just how inhuman and confronting this topic is.
Though this topic has been depicted before, this exasperating and meaningful docudrama is significantly more astonishing and enrapturing than this season’s other docudramas.12 Years a Slave becomes a truly enthralling experience!Based on Solomon Northup’s influential 1853 memoir of the same name, 12 Years a Slavechronicles Northup’s painful, revelatory, and transcendent journey against all odds. Despite the colossal preconceptions, viewers should drop their guards before absorbing this artistic endeavour. The story kicks off in in Saragota Springs, New York in 1841, with Northup embracing his enviable and likeable existence. Living a peaceful life with his wife and two children, his financial, spiritual, and moral wealth becomes irreplaceable. Hurriedly, he’s offered a fruitful gig with a travelling circus by two advantageous figures, Brown (Scoot McNairy) and Hamilton (Taran Killam). After an infectious celebratory dinner, Northup is drugged, kidnapped, and sold to slave owners for a hefty profit. Tortured, abused, and re-named “Platt” by his captors, Northup must stick close to his fellow prisoners whilst avoiding his masters’ violent bursts. Shipped from Washington DC to Louisiana, Northup comes across malicious slave trader Theophilus Freeman (Paul Giamatti). With Freeman’s despicable personality inflicting his ‘property’, slave owner William Ford (Benedict Cumberbatch) saves Northup from Freeman’s overwhelming grasp. Sharing bible passages and gracefully interacting with his workers, Ford becomes a kind-hearted and honourable plantation owner. However, the plantation’s other inhabitants aren’t impressed with Northup’s presence and skills. With the other slaves keeping to themselves, the white employees treat their black counterparts with disdain. Pushed to breaking point by disgraceful carpenter John Tibeats (Paul Dano), Northup, after beating Tibeats, seeks Ford’s council. Ford, believing Northup to be an honourable individual, trades him to fellow slave owners Edwin and Mary Epps (Michael Fassbender and Sarah Paulson). Coming across downtrodden slave Patsey (Lupita Nyong’o) and carpenter Bass (Brad Pitt), Northup must defend himself and seek justice during his time under the Epps’ control.
The bible, for a text so heavily lauded and practiced by people across the world, describes slavery as a natural condition. In fact, verse one, Peter 2:18 specifically states: “Slaves, submit yourselves to your masters with all respect, not only to those who are good and considerate, but also to those who are harsh”. Every so often, a Hollywood production comes along that illustrates cinema’s over-whelming power and potential. Breaking down cultural preconceptions and social barriers, 12 Years a Slave compromises between ambitious moviemaking and its heart-wrenching story. This docudrama, forming a unique, potent, and tangible identity, wholly detaches itself from the Hollywood system. Wholeheartedly, it deserves its already overwhelming critical and commercial success. This courageous docudrama explores controversial and sickening depths. This extraordinary and intelligent artistic achievement enhances cinema’s courageousness and tenacity. Escaping from cinema’s commercial, moral, and ethical confines, this experience violently buries itself under the skin and into the mind. Here, we are exposed to a disturbing and despicable period of human history. With Slave-dramas normally classed as Oscar bait, this narrative removes the genre’s manipulative and obvious trappings. Embracing its prestigious opportunities and glorious advantages, the movie paints an honest and distressing portrait of one of history’s bleakest periods. The story immediately states is discomfortingly direct intentions and startlingly solid viewpoints. With Northup’s journey being a profound, terrifying, and heartbreaking tale, the movie examines vital periods and facets of his fascinating existence. During his twelve-year ordeal on four plantations, Northup’s tale becomes a heartbreaking reminder of mankind’s most disgusting shades. The movie considerately and thoughtfully chronicles Northup’s inconsolable transition from respected upper-middle class citizen, to broken object, to deprived yet honourable slave. Northup, with his ideologies and identity traits destroyed during several violent beatings, becomes a blank slate for white upper-class men to contort, distort, and manipulate.
Director Steve McQueen (Hunger, Shame) is unafraid to inject his own ideologies, morals, and principles into this chilling narrative arc. Throughout this gritty slave-drama, McQueen defines history, religion, and entertainment as life’s more note-worthy aspects. Despite holding onto Steven Spielberg’s emotionally gripping story-telling ticks, McQueen turns this brutal slave-drama into a confronting, visceral, and philosophical masterpiece. Eclipsing Spielberg’s The Colour Purple, Schindler’s List, Lincoln, and Amistad, 12 Years a Slave exclaims that man was, is, and will always be Earth’s greatest and yet most deplorable creature. With humans controlling, harming, and tricking one another throughout time, the movie depicts and describes our worst tendencies without blaming the audience. Slave owners, whether they were good samaritans or psychopathic Neanderthal-like monsters, eternally condemned themselves through obvious malpractices. Modern cinema’s greatest Black directors, including McQueen, Spike Lee, Lee Daniels, and Ryan Coogler, create thought-provoking dramas heartily discussing race, gender, class, and the human condition. This ambitious and emotionally powerful slave-drama, living up to the true story’s emphatic potential, is bolstered by McQueen’s uncompromising direction. Directing with brains, braun, heart, and moral fibre, McQueen’s unquestionable talent and commendable intentions develop an original, heart-breaking, and revelatory slave-drama. Here, like with his previous films, McQueen, with screenwriter John Ridley’s assistance, illuminates the narrative’s most gruelling aspects without creating an overwrought and gratuitous Hollywood feature. Analysing and deconstructing slavery’s overwhelming negatives, he explores this issue’s many controversial, neglected, and dangerous shades. Embracing this story’s socio-political insight and emotionally affecting moments, McQueen and Ridley deliberate on this harrowing topic’s facts, intricacies, and perspectives. Despite the noticeably exasperating run-time, McQueen, refusing to inject fantastical elements or overwrought opinions into the narrative, presents an objective and engaging account of this potent true story.
“I will survive! I will not fall into despair! I will keep myself hardy until freedom is opportune!” (Solomon Northup (Chiwetel Ejiofor), 12 Years a Slave).
Comparable to Paul Thomas Anderson’s work in There Will Be Blood, his style scours this story’s most promising aspects by crafting memorable sequences. Pushing the camera into each pressing situation, extended takes linger uncomfortably on unflinching images. These moments, complimented by raw silence, illuminate the characters’ degrading situations. McQueen pierces vital settings whilst conveying powerful messages and viewpoints. The noose sequence is comprised of several nail-biting shots. Wide angles establish the characters’ predicaments and the sequence’s relentlessness. Smash cutting and splicing contrasting images together, the poetic editing style links symbols to valuable story-threads. Outdoing himself at each twist and turn, McQueen alleviates this heartbreaking story with artistically conquering montages. These near-wordless vignettes, depicting this poignant journey’s most captivating moments, become enthralling and disconcerting flourishes. However, gruelling sound effects elevate McQueen’s sumptuous and edgy style. With each whip crack, hammer and nail, and buckling shackle, the movie’s intensity is drastically heightened – defining the movie’s most shocking moments. Hans Zimmer’s score also elevates certain sequences. The music cues’ percussive rumbles and beats throw vital sequences into overdrive. However, the actors also craft this confounding drama’s ingenious and cognitive aspects. Ejiofor delivers a powerful and awe-inspiring turn as the degraded lead character. Tenaciously devouring several enthralling sequences, he delivers the decade’s most valuable performance. Fassbender and Cumberbatch excel as slave owners with vastly different Methodologies. Paulson, Dano, and Giamatti steal scenes as despicable and polarising figures. However, newcomer Nyong’o provides an insatiable and unique performance as Epps’ favourite slave and Northup’s guiding light. Meanwhile, Pitt, Killam, McNairy, Garret Dillahunt, and Alfie Woodard succeed in one-or-two-scene roles.
Examining one of history’s most distressing time-periods, movies like Django Unchained and 12 Years a Slave become compelling Oscar-worthy treasures. Though its graphic violence and sickening darkness may prove too much for some, 12 Years a Slave‘s compelling story, enrapturing directorial flair, and fascinating performances classify it as one of the decade’s greatest cinematic accomplishments. With subject matter this valuable; McQueen’s blood-sweat-and-tears approach has crafted an appropriate and chilling portrait of America’s darkest era.
Verdict: A powerful, haunting, and rich slave-drama.