A year ago, the whole world was deeply anticipating the long awaited return of the Star Wars franchise to the big screen with the release of the seventh film in the saga; The Force Awakens.  This was the first film in a new era for the series; unencumbered by it’s complete control under it’s creator George Lucas.  With the Disney company taking the reins, the Star Wars series was ready for the change it desperately needed.  And that change came in record-shattering fashion with The Force Awakens.  Though the story behind it wasn’t as fresh as people liked (basically it was a rehash of A New Hope for most people), the spirit behind it felt authentic, and it pleased a whole legion of fans young and old.  I for one included it on my best of the year list for 2015, more than anything just for the sheer entertainment value.  And while continuing the main saga of the Star Wars franchise is a pleasing mission to see realized in cinemas today, what Disney also had planned for this property actually is the thing that gives me the most excitement about the future.  What we are going to see from Disney and Star Wars is an endless series of standalone features dedicated to expanding the storyline outside of the main saga.  In other words, the sky is the limit to what can be turned into a feature with the Star Wars universe as it’s backdrop.  Primarily, we will be seeing backstories fleshed out, explore subplots in full length treatments, and experience other worlds that had until now been unseen.  Already Disney has been gearing up an origin story for one of Star Wars most beloved heroes, Hans Solo, which should be in theaters in 2018.  There are also standalone features rumored to feature Boba Fett and Obi-wan Kenobi in the near future.  But, this ambitious plan for an expanded universe must have a solid beginning, and this year, we have that foundation set by the first ever Star Wars Story; Rogue One.

The idea to make this the first in the expanded universe tales seems like a sound one.  It’s taking a subplot from the original trilogy, about the Rebel spies who stole the Death Star plans from the Empire, and finally showing us how it was done and by whom.  If there is one thing that the Star Wars universe hasn’t devoted a lot of time to, it would be the lives and trial of the many people who make up the resistance.  Oh sure, we know about Leia and Han and of course Luke Skywalker, but what about all those nameless heroes who fight alongside them.  Rogue One finally lets us hear their story and learn about the sacrifices and hardships they face in the shadow of the evil Galactic Empire.  The movie also gives us another interesting side story to explore which is the creation of the ultimate weapon; the dreaded Death Star.  The Death Star of course is one of the most iconic pieces of the Star Wars universe, so seeing it again brought to life on the big screen is another thing that I’m sure will please fans.  Also, and more importantly, this movie’s strong sense of nostalgia is going to make it appealing to fans.  It takes place in the same time period as the original trilogy, and borrow strongly from that era’s visual aesthetic.  Because of that, many are hoping that this will be the first true Star Wars movie since the originals, and not the glossy retread that was The Force Awakens, or the garishly over-produced betrayals that were the prequels.  But, straying into the open world of an expanded universe can have it’s own troubling consequences if the stories are not strong enough to support the legacy behind them.  So, does Rogue One fall short of it’s astounding pedigree, or is it a hopeful indicator of the great things to come in the Star Wars universe.

Rogue One’s narrative begins in-between Episodes III and IV of the main saga; Revenge of the Sith (2005) and A New Hope (1977) to be specific.  In fact, it leads right up to the beginning of IV, in a very effective way.  The story introduces us to Jyn Erso (Felicity Jones), the daughter of a leading engineer for the Imperial Forces named Galen Erso (Mads Mikkelsen), who as we learn is the chief architect of the Death Star.  Jyn has spent years living as an outlaw trying to reconnect with her father and her misdeeds against both the Empire and the Resistence forces eventually gets her caught by a band of rebels led by Captain Cassian Andor (Diego Luna) and his re-programmed Imperial droid K-2SO (Alan Tudyk).  They bring her before the Resistence leaders, including Mon Mothma (Genevieve O’Reilly) and Senator Bail Organa (Jimmy Smits), who enlist her to help them retrieve a message from an Imperial pilot (Riz Ahmed) who had just defected and is in the custody of a rogue Rebel warlord named Saw Gerrera (Forest Whitaker); a former acquaintance of Jyn’s.  They find Saw’s base on the Imperial occupied planet of Jedah, a once holy center for the Jedi Order.  There they encounter Imperial Stormtroopers all around, but are assisted by two resourceful rogue warriors; the sharpshooting Baze Malbus (Wen Jiang) and the blind daredevil monk Chirrut Imwe (Donnie Yen).  But, while this small band tries their best to discreetly complete their mission, final preparations are being made on the Death Star, with it’s overseeing Commading Director Krennic (Ben Mendelsohn) eager to test out it’s planet destroying power.  Krennic’s ambitions drive him to even more drastic methods than many of the other Imperial commanders; which makes him especially threatening to the Rebels, and a nuisance to some of his superiors in the Imperial force including Grand Moff Tarkin (Guy Henry) and Darth Vader himself (voiced again by James Earl Jones).

As you can tell, this is a heavily packed film with quite a lot of characters and plot threads.  In fact, it may be the most ensemble heavy Star Wars film we’ve ever seen.  So, is that a good thing or a bad thing?  How does this stack up against the other Star Wars.  Well, judging this movie is challenging, mainly because it is part of this legendary legacy.  The Star Wars grading curve is a peculiar one, mainly because the high points of the series are almost insurmountable, and we all know by watching the prequels how low the series can get as well.  My rating of the movie is like this; if it weren’t for the fact that this was another Star Wars movie, I would say that Rogue One is one of the greatest sci-fi adventure movies ever made.  But, because it is a Star Wars , it inevitably has to be judged with the other movies in the series, and that unfortunately brings an unfortunate burden on the film as a whole.  It doesn’t quite have the same kind of flawless spirit that Star Wars  had at it’s height with A New Hope and The Empire Strikes Back  (1980), or even the nostalgic heart that elevated The Force Awakens, but at the same time it is still an enormously enjoyable adventure in it’s own right.  The best way to judge this movie is to look at it as a war film instead as a part the Star Wars narrative, and in that regard, it is an exceptional piece of work.  The movie does an excellent job of giving a face to the Rebellion fighters, showing them as more than just screen filler standing around the franchises’ main stars.  They are all vulnerable beings fighting for something they believe in and are willing to accept the cost of even their lives.  There are no Jedis in this movie and only one character wields a lightsaber late in the film (in a truly spectacular moment).  This is instead a battle fought through wits, determination, and blasters and in a way that’s the refreshing thing about this movie that sets it apart from it’s predecessors.

If the film has a major flaw in it, it would probably be with the characters.   None of the cast of characters in this movie are terrible per say, it’s just that very few of them are memorable.  This is one thing that made The Force Awakens a better film; it endeared us to the new characters of Rey and Finn and Kylo Ren with a lot more focus than there was on the story.  Here, characterizations are minimal, mainly because there is so little time to fit all of them in.  The one’s who suffer the most are the two leads; Jyn and Cassian.  The actors playing them do a fine job, but the characters are so underdeveloped that they come off as a little boring.  Jyn in particular is the biggest disappointment as a character, especially considering Star Wars history with strong heroines from Princess Leia to Rey.  The supporting players fare a little better.  I particularly liked the droid K-2SO.  He’s got all the resourcefulness of C-3PO, but with none of the cowardice, and he’s even got a sly sense of humor as well.  Some other great characters are Baze and Chirrut, the two exiled guards of a Jedi temple.  Chirrut is the one character in the movie that mentions the concept of the Force, and he in turn becomes the movie’s spiritual center.  It’s especially fun to see Donnie Yen’s martial arts skills put to good work with the character, especially knowing that the character is also supposed to be blind.  And Jiang’s Baze is just a great bad ass with a really big gun.  I also want to spotlight Ben Mendelsohn as the villain Krennic.  What could have easily turned into a whiny, unlikable villain instead becomes a richly textured character through Mendelsohn intimidating performance.  He even holds his own in scenes with Darth Vader, which is no easy task.

But while the cast of characters is a mixed bag, the visual presentation is beyond exceptional.  This is a spectacular looking film.  The epic scale is on par with Star Wars at it’s very best, and maybe even a little more.  Thankfully Disney and Director Gareth Edwards did not treat this side story any less important than the films in the main Star Wars saga.  In fact, the scale of production feels even greater here than it did in The Force Awakens.  In this movie, we are treated to incredible locals that we’ve surprisingly have yet to see in a Star Wars flick.  A tropical beach becomes a battleground for example, complete with all the classic Star Wars machinery that we’ve come to love over the years, including the mighty Imperial Walkers.  But, the visual give a lot more to the story than to show off, which is something that plagued most of the prequels.  I also commend the filmmakers for trying their hardest to recreate the texture and feel of classic Star Wars.  The movie has a definite lived in feel like the original films, with all the dirt and crime intact.  Some locals from the original trilogy even make a return appearance like the Yavin 4 moonbase of the Rebellion and of course the Death Star itself.  Speaking of the Death Star, this movie allows us to experience something that even the original trilogy was never able to show before, and that’s the true destructive force of it’s power.  In the original Star Wars, we saw the destruction of Alderaan from a wide shot, mainly because that was the only way 1970’s visual effects could portray a planet’s destruction on screen.  Here, we see the Death Star’s power demonstrated from the surface of the planet itself, and it is chilling.  I don’t think we’ve ever seen this kind of apocalyptic imagery shown in a Star Wars film before, and it really helps to elevate the true menace of the Death Star more than ever.

And that’s another thing that I like about this movie is that it does a great job of adding more lore to the Star Wars universe as a whole.  It actually helps to fill in some of the gaps in the overall Star Wars narrative and set things in motion in a very effective way.  Some of the classic characters are also used very well, although there is one distracting element about them that I have to point out.  Some characters who have aged too much over the years or whose actors have deceased since the original film’s release are digitally recreated in a very distracting way.  The CGI used for their faces are not the worst that I’ve seen, but it still falls into that uncanny valley where it just doesn’t look right and it takes you right out of the movie every time it happens.  Think of the de-aging effects they used on Jeff Bridges in Tron Legacy (2010), and you’ll get the idea.  It might of been better if they used make-up effects to do the same thing, or even cast someone who looks exactly like the original, like what they did for the character Mon Mothma.  Darth Vader fares much better as a revitalized character in this film.  He’s not in the movie a whole lot, but the few moments he has are spectacular.  You really get the sense of how much he was neutered as a character in the prequels, and this movie finally allows him to be the frightening force of nature that the original trilogy had made him to be.  Also, hearing James Earl Jones voice once again with the character is a true delight.  It all helps to make this film feel like it rightfully stands with the main saga, and best of all, by filling in the gaps in the story, it actually enhances the original film itself.

So, Rogue One may not live up to the stellar heights of the series at it’s very best, but that doesn’t mean that it’s not a lot of fun to watch either.  What it lacks in characterizations it makes up for with thrilling action.  Some of the action moments here are among the best that I’ve seen in the series as a whole, including the final battle at the end which may even exceed the dogfight in space from Return of the Jedi (1983).  I commend this movie for it’s sense of scale, and for not pulling any punches either.  This is a dark and sometimes brutal film, and it really gives you a sense of the amount of sacrifice that the Rebels in the Star Wars universe go through in order to stop the Empire.  I think that this is the movie’s greatest contribution to the Star Wars lore; that it gives a face to the faceless rebels that we’ve only seen on the periphery of the main saga before.  These are not special people with special powers; they are merely survivors fighting against the odds and with only their skills and wits to help see them through.  That in itself makes Rogue One a triumph.  It may be rough around the edges and lacks the steady entertainment factor that elevated The Force Awakens, but it still is one hell of a ride, and it especially gives us a lot to look forward to in the future for this series.  Indeed, I’m happy this movie works as well as it does, because it shows us that any story outside of the main saga can hold it’s own on the big screen.  It makes me eager to see the planned Han Solo origin story, and especially excited to watch next year’s continuation of the saga with Episode VIII.   As for now, the force is still strong with Rogue One and it’s absolutely worth the journey to that galaxy far, far away once again for all audiences.

Rating: 8.5/10

Disney’s success in the film medium has come from a lot of factors, but one of the chief ones is their ability to fully reinvent themselves, even while still having a foothold in the past.  When you look over the whole of their film library, primarily among their animated canon, you see a lot of highs and lows in their history, with the high points standing out as the defining elements of their studio character.  While varied degrees of success have come their way, their primary expertise has always been fairy tales and legends.  It would make sense, since that’s how the Disney company started out in features, with the release of Snow White and the Seven Dwarves in 1937.  Since then, any era of advancement in the Disney company usually is marked by the release of another fairy tale classic, like Cinderella (1950) and Sleeping Beauty (1959) in the Golden Era of the 50’s, or The Little Mermaid (1989) and Beauty and the Beast (1991) in the Disney Renaissance, or even in the Digital Era with Frozen (2013).  Each of these successful fairy tale features also built up a lucrative brand for the company dedicated to the Disney Princesses.  The Princess line has allowed itself to be flexible, so that it could include characters outside of fairy tales to fall under the same branding, especially if they are representative of other cultures.  That’s why you see Pocahontas included as a Disney Princess as well as Mulan, despite the fact that neither are royalty in their selective films.  Even Pixar’s Merida from Brave (2012) gets lumped in.  Whatever the reasoning behind each one’s inclusion, Disney’s Princess brand is a powerful one and they are eager to keep it growing, and with the release of their new film Moana, they have added a rather unique newcomer to their club.

Moana tells an original story derived from various legends told in various Pacific Island cultures.  It’s not the first time the company has chosen a setting like this for a movie, or used Oceanic people for their main characters.  However, that earlier film was Lilo & Stitch (2002), a contemporary story about native Hawaiians encountering a rambunctious alien creature.  It was a movie respectful of Pacific Island culture and people, but it only looked briefly into the cultural heritage of it’s characters and instead firmly put them in a modern, homogenized setting.  Moana, on the other hand, puts the culture and legends of it’s setting front and center.  And one thing that is reassuring about Disney’s track record with depicting other world cultures is that they do their research thoroughly in order to capture some authenticity with their depiction.  Sure, Disney does soften cultural traits in order to suit their corporate image (a process dubbed Disney-fication), but they do make their best effort to try to give each cultural group or race a fair place in their overall community.  Moana allows for the many cultures of the Pacific Islands to have their story presented to the world in the spirited Disney way, and the project comes from some top tier talent at the company.  The directors are long time veterans John Musker and Ron Clements, a successful duo at Disney for over 30 years whose credits include hits like The Little Mermaid, Aladdin (1992), Treasure Planet (2002) and The Princess and the Frog (2009).  Moana marks their first CGI feature, as well as their first in the Cinemascope format.  In addition to their legendary directors, Disney also tapped songwriter Lin-Manuel Miranda to pen several new songs for the film, coming off recently from his mega hit Broadway show, Hamilton.  With strong names like these attached, you would expect that there are high hopes surrounding Moana.  But, is it another Disney classic, or not?

Moana sets itself on no specific island found in the Pacific Ocean, but instead portrays a portrait of traditional Islander life in a more classical age.  We meet Moana (voiced by Auli’l Cravalho) who is being prepped by her father, Chief Tui (voiced by Temuera Morrison), to be the next chieftain of their island village.  At the same time, Moana’s free-spirited grandmother Tala (voiced by Rachel House) indulges the girl’s desires to see what is beyond her island and gives her the knowledge of the histories and legends of her people.  Moana learns from her granny that many years ago, the Goddess of creation named Te Fiti had her heart stolen by a Demi God named Maui (voiced by Dwayne “The Rock” Johnson).  Upon escaping the island home of Te Fiti, Maui encountered a demon formed out of lava named Te Ka, who fiercly attacks him and causes Maui to drop both the Heart of Te Fiti and his magical fish hook, the source of all his power.  Without her heart, Te Fiti drains the life out of Islands throughout the ocean, and the web of decay has now reached Moana’s Island, causing the crops to die.  Despite her father’s stern warnings, Moana sets off alone to find Maui and force him return the heart stone to it’s rightful place.  By her side is the rooster Hei Hei (voiced by Alan Tudyk), and the ocean itself, which has a mind of it’s own, helping Moana along the way after it has chosen her specifically for the task.  Once Maui is found, the two set off on the journey which includes encounters with the Kakamora (coconut bodied pirates) and a gluttonous giant crab named Tamatoa (voiced by Flight of the Conchord’s Jemaine Clement).  Though she has the ocean as her ally, Moana still has to learn to navigate across the vastness of it, and it’s a quest that will test every ounce of her being, as well as show her exactly the person she needs to be.

Moana is a very pleasurable adventure from Disney, and feels right at home with all of their other animated features.  It is beautiful to behold, and is entertaining from beginning to end.  The only thing that I would say that keeps it from achieving all time classic status as a Disney feature is the fact that the movie more or less is a tad too familiar.  It’s not poorly told, nor does it do anything out of line that sours a good narrative; it’s just that I feel that it could have been just a little better if it took some more unexpected routes in the story.  I think this movie has the disadvantage of following in the wake of Zootopia, Disney’s early Spring release, which was a much more risk-taking film, making it one of the studio’s best efforts in years.  Moana by comparison just plays to more of what you would expect from Disney, and while that’s acceptable, it’s not really revolutionary either.  And, it seems to me that the filmmakers knew that going in too.  There are several jabs at Disney Princess cliches thrown at us within the movie, and they can be quite refreshing.  A particularly funny one comes from Maui halfway through where he points out how Princesses always carry around an animal sidekick with them.  But, even though the movie pokes fun at the cliches, it only reinforces your awareness that they are there, and the movie isn’t daring enough to try to avoid them.  But, even still, this movie is a thoroughly enjoyable experience.  I would even say among the Princess focused films, it’s the best we’ve seen from Disney since the Renaissance; yes even better than Frozen (which was just okay to me).  Cliched or no, you are not going to come away from this movie feeling like it’s a waste of your time.

Perhaps the film’s greatest strength is it’s characters.  In particular, Moana herself.  She is one of the best written and performed heroines to be found in the whole Disney canon, and it’s her journey that makes the whole film worthwhile.  While the journey itself can sometimes be cliched, the growth of Moana’s character is not.  I love the fact that the story foregoes the necessity of making her gender a factor in this story.  Moana is not trying to prove her worth as a girl in society nor is she trying to prove herself as a leader.  Those things are already established for her at the start.  She’s already taking her place as the ruler of her people before her journey begins.  Her growth as a character is more of a personal one of enlightenment, allowing her to discover the person she really is  and help her lose all self doubt that could prevent her from becoming a better leader.  This personal journey is what makes Moana far more interesting than the usual Disney Princess, who tend to not have internal conflicts define their characters.  Auli’l Cravalho does a fantastic job of voicing the character, capturing the spunkiness of youth, but also the depth of a girl burdened by the responsibility that she holds for her people as well as for herself.  Like most other culturally based films in the Disney canon, I applaud them for filling the voice roles with actors representative of those cultures, and Moana is no different.  Multiple Pacific Island ethnicities are represented in the cast, including Cravalho who is Polynesian, Dwayne Johnson who is half-Samoan, and both Temuera Morrison and Jemaine Clement who have New Zealander Maori ancestry.  It all brings a nice authenticity to the voices of these characters.  And the cast is universally strong throughout the movie.  Dwayne Johnson’s on-screen charisma translates surprisingly well into the character of Maui too.  And I especially loved the tender quirkiness of Rachel House as Moana’s grandmother.  Overall, each helps to make this another great addition of characters to the ever growing Disney family.

One thing that I’m sure a lot of people are going to take away from this film more than anything is the music.  Disney of course has left a huge mark on the classic Hollywood musical tradition, and Moana hopes to add it’s own contribution to the great Disney Songbook.  In order to capture the sounds of the Pacific Islander cultures, it seems unusual that they would select a Puerto Rican-American for the job, but it’s understandable when that person is the award-winning Lin-Manuel Miranda.  After completing one of the biggest Broadway blockbusters in recent memory with Hamilton, the timing couldn’t be much better for Disney to have new songs written for their film by this superstar.  And the songs he has co-written with Samoan musician Opetaia Foa’i have that nice mix of contemporary pop and authentic Oceanic cultural influence.  Thankfully, none of the songs here are going to be omnipresent earworms like Frozen’s “Let it Go,” but a few still stand out as catchy and memorable.  I think the real standout is “We Know the Way,” an epic centerpiece song about the history of the Oceanic wayfinders who founded so many of the cultures on the Islands of the Pacific, including Moana’s own.  It’s a song that evokes the same grandeur of a melody like The Lion King’s “Circle of Life,” and more than any other becomes the theme of the movie itself.  I also have a soft spot for the song “Shiny,” which is sung by Jemaine Clement’s Tamatoa.  It would have been a waste to not take advantage of combining the voice of the Flight of the Conchords with the writer of Hamilton, and thankfully Disney did not miss this opportunity.  It’s a great, gaudy tune that sounds like something Tim Curry would’ve performed in his Rocky Horror heyday, and it’s probably my favorite Disney Villain song in quite a long time.  Surprisingly enough, they managed to get Dwayne Johnson to sing in the movie, and while he’s a bit out of his league, I still give him credit for at least trying.  He’s more brave than I would’ve been.  Accompanied by a beautiful epic score by Mark Mancina, Moana‘s music does the Disney Songbook proud.

But apart from the cast and the music, the movie also has the benefit of looking absolutely gorgeous as well.  It’s a good thing this movie is being released in the wintertime, because audiences will feel like they’ve taken a refreshing summer vacation to the South Pacific after watching this film.  The movie puts so much rich detail into every shot of the movie, from the lush greens of Moana’s island, to the bright blues of the sun-drenched skies.  Character details are also pleasing to the eye.  I’m sure that many people are going to have fun examining all the different designs of Maui’s tattoos which cover his whole body, and which come to life through traditional hand drawn animation.  And while the recreation of life on the islands is richly detailed in itself, the movie also indulges in some eye-poppingly imaginative magical sights as well.  The Kakamoura pirates for example are a great, inspired creation; being both adorable and intimidating at the same time.  I also feel that their scene owes a lot of inspiration to George Miller’s Mad Max series; you’ll see why.  Also, the location of Tamatoa’s lair in Lalotai, the realm of monsters, gives the movie a nice surreal experience, where the production designers and animators clearly had a lot of fun coming up with a lot of out there visual ideas.  Apart from the visual design, the animation of the characters is also phenomenal, and shows just how comfortable Disney has gotten with the CGI medium.  Moana herself is elegantly designed, and full-figured which is a nice departure from the Barbie doll look of past Disney princesses.  There’s also some spectacular animation done on the demon Te Ka, making her feel like she’s authentically made out of molten lava.  Audiences will also be stunned by the beautiful way that the Ocean itself is brought to life, especially in an awe-inspiring introduction scene early in the movie, where a baby Moana walks among  ocean walls that have parted for her.  It’s a visual tour de force that lives up to the high Disney standard.

So, is Moana worth checking out this Thanksgiving weekend?  For any Disney fan or animation fan out there, it is absolutely worth seeing, and for the casual viewer, it will certainly be one of the best options out there too.  I do have minor misgivings about the overall story, but maybe it’s just my abnormally high standards with regards to Disney Animation.  It’s definitely on the higher end of the Disney canon, but just a hair short of being one of the all-time masterpieces.  Oddly enough, I think that Zootopia may have been the better Disney effort of the year, despite it’s less epic presentation.  It has to do more with how well the sum of every part works for each movie, and Zootopia just hit the mark more than Moana.  But, that’s not to say that Moana is a disappointment.  I had a good time watching the movie and was absorbed into the rich setting of it’s narrative.  It is spectacularly animated and full of rich characters.  I love the main heroes of Moana and Maui, both of whom will become favorite Disney characters for many fans young and old for years to come.  The songs in particular are what I consider the movie’s triumph; supportive of the story, but not overwhelming either.  I’ve had both “We Know the Way,” and “Shiny” stuck in my head for days now, so that’s a good indicator of how much an impression they’ll leave behind.  They also live up to the high standards of both Disney’s reputation and Lin-Manuel Miranda’s.  Anyone who is a fan of Hamilton owes it to themselves to hear Miranda’s work here as well.  This is also another strong addition to the legendary work of Musker and Clements, who have solidified their reputation as the Disney Studio’s most heralded film-making duo.  Hopefully it’s not their last collaboration, but if it is, then it’s a strong way to go out.  Despite feeling at times a tad too familiar, Moana is still a worthwhile animated feature and you’ll be well served finding your way to your local theater to see it.

Rating: 8/10

The fall movie season is well under way, but so far, the last few weeks have been pretty bare.  With only Clint Eastwood’s Sully being the one breakout hit since summer, movie audiences have been craving something big from Hollywood.  With Snowden, The Birth of a Nation, Inferno, Miss Peregrine’s Home for Peculiar Children, and The Girl on the Train all receiving tepid to outright terrible receptions, you have to wonder if it’s even worth it to release anything in the first couple months of Fall anymore.  At this point last year, we had already seen The Martian and Hotel Transylvania 2 hit big numbers, so you would think that now is a point this year that Hollywood is beginning to see some problems.  Thankfully, the second half of the Fall season is here and what better way to kick it off than a new film from the ever reliable Marvel Studios.  Marvel returns to the fall season for the first time since Thor: The Dark World (2013) with yet another film that seems like a big gamble for the studio.  After showcasing dynamic earthbound heroes with Captain America and Iron Man, as well as celestial heroes with Thor and Guardians of the Galaxy, Marvel now brings us a different kind of flavor to their many interesting worlds, and that’s the realm of the mystical with their new movie, Doctor Strange.  Doctor Strange finally brings to the big screen a long time fan favorite in the comic book world and helps to place him within the larger Marvel stable that keeps growing larger every year.

Created by Steve Ditko in the 1960’s, Strange was definitely a product of his era.  Strange’s mastery of magic and the manipulation of the physical and metaphysical worlds fit well with the psychedelia of the time and made him an instant hit among comic book readers.  But, in the years since, Doctor Strange has been a hard character to sell to the public.  Because of his background in mystical arts, he didn’t quite fit in as a superhero worth investing in on the big screen, like say Superman or Batman, who better fit the action hero mold.  But fans of the comics long championed the character, and he has enjoyed a long history of popularity on the page, becoming a key member of Marvel’s Avengers line in the process.  With the creation of Marvel’s Cinematic Universe (MCU) in the last decade, it finally seemed like the right time to give Strange his time in the sun, but it would have to wait until Marvel’s Phase 3 to actually happen.  But, it’s here and now fans of the comics and casual viewers as well now have the opportunity to see if Doctor Strange is able to work on the big screen as well as his fellow heroes and if he’s another jewel in Marvel’s cinematic crown, or a serious misstep.  It all comes down to whether the character works off of the page and that largely is up to how well the character is cast and if the movie manages to convey the trippier aspects of his mystical realm; neither of which is an easy thing to pull off.  So, is Doctor Strange one more hit for the MCU or have they tampered with powers out of their control and fallen into a metaphysical spiral of their own making.

The movie introduces us to Doctor Steven Strange (Benedict Cumberbatch) a talented and successful surgeon from New York City, renowned for his steady hands that makes him exceptionally skilled with complex surgeries.  A car accident one night leaves him severely scarred and unable to use his hands the same way as before.  Seeing his livelihood disappearing before him, he seeks more experimental and unorthodox treatments to help restore his abilities and his search eventually brings him to a temple in Nepal where he has heard of miraculous healings being made.  There he meets a mysterious and powerful woman named The Ancient One (Tilda Swinton), who persuades the cynical Strange that the answers he seeks are not in traditional science, but in the art of the mystical.  Strange trains at the temple and learns how to use trans-dimensional magic to conjure up weapons for combat, open portals across great distances at will, and even manipulate the physical world around him.  He’s also given guidance by the loyal monk Mordo (Chiwetel Ejiofor) and the resourceful librarian Wong (Benedict Wong).  But, as his training goes on, he discovers that dark zealots of the same mystical arts are seeking to destroy the Ancient One’s protective temples, hoping to open up a gate to a dark realm where they’ll find immortality.  Led by the sinister Kaecilius (Mads Mikkelsen), the zealots seek to destroy the Sanctums; sanctuaries built in great cities around the world to protect it from encroachment of the Dark Realm and it’s master Dormammu.  Strange soon learns that he is charged with protecting this realm and many others from total annihilation, and with powerful artifacts like the Cloak of Levitation and the time altering Eye of Agamotto, he soon learns that he just might have what it takes to become the Sorcerer Supreme.

The success of this film is by no means a certainty.  After many easy to comprehend heroes like Iron Man, Captain America, the Hulk, and Spider-Man, turning a Sorcerer who practices magic into a viable inclusion to this pantheon seems a little, well strange.  Luckily, Marvel has built up enough confidence through all of their big screen adaptations to try everything they can and thankfully it works spectacularly well here.  Doctor Strange is yet another solid effort by Marvel Studios, extending their winning streak even further.  What could have easily been a mismanaged translation from the page to the screen instead feels right in line with the rest of Marvel’s body of work.  And really, the biggest strength of the film is how well it introduces it’s concepts to the viewer.  Strange feels very fresh in the comic book genre of movies, because we have yet to see this kind of hero specifically carry his own film.  Instead of following the traditional urban action thrillers of the Avengers crew, or the space based adventures of the Guardians of the Galaxy, we learn about magic spells and inter-dimensional travel and the different possibilities found within the universe itself, and we watch as our hero goes from ordinary to extraordinary in ways we’d never expect.  It’s more complex a world than what we’re used to in comic book movies, and yet, the movie never bogs itself down in the details.  Instead, it builds it’s world carefully, revealing itself through the eyes of Strange, as he goes from amateur to expert.  And while we’ve seen much of this hero-building before, it’s never been presented in this kind of fashion, with mysticism at the forefront.  It indeed shows that magic has it’s rightful place within the MCU, along with mutant powers, super suits, and mythological Gods.

Speaking of which, if this movie has a like-minded companion in the collection of Marvel films, it would be the equally fanciful Thor.  And like Thor, a large part of what helps to make the more mystical elements of the film more digestible for the casual viewer is the relatable-ness and likability of the characters.  The casting of Chris Hemsworth as Thor helped to make his film a success, because of how well he was a match for the character, and Benedict Cumberbatch is exactly the same in the role of Steven Strange.  In some ways, the casting seems unusual for Marvel.  Before, they seemed more intent on casting unknowns or unexpected choices in their roles, helping the actors get the boost they need for their careers and cementing their image as the character.  With Cumberbatch, he’s already had a successful career, both in popular franchises and elsewhere, so joining Marvel’s stable was not really anything he needed.  Also, gaining such a familiar face might hurt the chances of him effectively leaving an impression on the character for years to come.  And yet, I can think of no one who could have played the part better.  His performance is what really grounds this movie, making him incredibly magnetic and yet sympathetic throughout.  He starts off as a smartass (much like Robert Downey Jr.’s Tony Stark), but it never feels out of character, and it helps to humanize him too.  I also have to commend the make-up and costume departments for doing such a great job of recreating the iconic look of the character, even with such a distinctive face as Cumberbatch’s behind it all.  The other cast members such as Ejiofor, Swinton, and Mikkelsen are also great in the movie, and continue Marvel’s solid run of great casting choices.  The only one that gets short ended is Rachel McAdams as the, I guess love interest Christine.  She may have been pushed to the side for story purposes, and hopefully it’s something that is rectified in future sequels.  Also, the Cloak of Levitation itself becomes a character in the movie, and it amazes me how well Marvel can find personality in even a piece of clothing like it.

If the movie has any flaw, it would be in the story itself, which is more a less a bi-product of the unfortunate fact that this is yet another origin film.  We all know the routine by now; our hero is broken (either physically or mentally) and finds themselves at a crossroads, until they are suddenly granted new powers that enable them to extraordinary things, but are soon confronted by evil forces that challenge their strength and help our hero to learn that they must use their powers responsibly and for the good of the world.  I’ve just described for you pretty much the plot of 90% of all the Super hero origin films that have ever existed, and Doctor Strange is no different.  While it does do a fine job presenting the formula, it doesn’t add anything new to it either, and that unfortunately makes it feel all too familiar.  I could anticipate plot points in this movie before they even happened, like Strange’s crisis of faith towards the end of the second act, or the breakthrough moment he reaches at the end of the first.  The only subversion of the formula comes from the final act, when Strange is called upon to save the day.  I anticipated that he was going to win in the end, I just didn’t know how, and the way the movie resolved was blessfully surprising.  That’s not to say that you won’t be engaged in the story either.  The film is well paced and offers up plenty of clever plot threads here and there; the best coming from some of the clever action sequences.  But, because it plays it more safe with the formula, it becomes less interesting in the long run and prevents this from being one of Marvel’s absolute best, like the rule-breaking Guardians of the Galaxy.  But, it’s a flaw that doesn’t ruin the movie entirely and you’ll still enjoy it for the most part.  My hope is that with the origin out of the way, they can take more chances in the sequel.

One thing that I will praise highly of the film is the amazing visuals.  This may just well be the most visually impressive Marvel film to date, and that is saying something.  The magical spells are neat to look at enough, but it’s whenever the sorcerers begin to alter the physical realm around them, and turn the world itself on it’s head, that the movie really leave you with a sense of wonderment.  Think the movie Inception (2010), but done on a much more spectacular level.  The movie establishes the idea of a Mirror dimension, where the sorcerers can manipulate world physically without repercussion to the actual world, and that enables them to break the laws of physics in all sorts of ways.  There is a spectacular sequence halfway through the movie when Doctor Strange and Mordo are on the run from Kaecilius in the Mirror dimension, and the dark wizard hunts them down by warping the city of New York all around them, making skyscrapers bend and twist in all sorts of unnatural ways, creating a colossal kaleidoscope of the cityscape.  It’s a sequence that utilizes visual effects better than anything else I’ve seen this year, and really in a long while.  If this movie doesn’t walk away with an Oscar for it’s visual effects next year, I don’t know what will.  And yet, with all the trippy visuals on display, the movie never loses sight of the action.  There’s no Michael Bay level of chaos on display here; the action is as easy to follow as anything else, even with all the eye candy on display.  This is some of the best film-making I have seen from Marvel, and it shows that they still have some new tricks up their sleeve.  A lot of credit goes to director Scott Derrickson for managing such a complex presentation without losing focus on the characters and the story.  Believe me, a less assured director would have turned this into a complete mess.  Doctor Strange thankfully is neither a mess nor a failure.

So, it’s safe to say that Marvel has yet another solid effort to their credit, and Doctor Strange has earned a rightful place alongside his more well known peers on the big screen.  While the story feels a little too overly familiar, the movie does open up so many wonderful possibilities for the future.  An inevitable sequel will help solve some of the first film’s shortcomings, and I honestly can’t wait until Strange plays a larger part in the MCU going forward (by the way, stay during the credits for some extra scenes that tie into that).  It’s especially good to see someone of Benedict Cumberbatch’s talent and charisma within the role (and how well that could play out in the future with the character) and the amazing sense of scale that the filmmakers put into the film.  Visually, this is Marvel at it’s best, even if the plot itself is them on auto-pilot.  I also can’t ignore the complaints that this movie has garnered for the perceived white-washing of the character of the Ancient One.  While it’s a serious issue in Hollywood in general, I don’t think that this movie intentionally tried to change the character for that purpose.  While it’s an excuse that might not please every, the movie does address why the Ancient One is who she is, and it’s an explanation that, at least made sense to me.  Also, Tilda Swinton is such a great actress in the role, that it really doesn’t make you care too hard in the end.  I may not see the controversy in the same way, but it’s there nonetheless.  Hopefully, people will accept the choice for what it is and this controversy will not affect the movie in the long run.  Overall, it’s another great Marvel film, and a blockbuster that Hollywood desperately needs to get this Fall season back on the right foot.  It may not be perfect, but it does enough good stuff amazingly well, that it will leave your movie going experience quite magical in the end.

Rating: 8/10