Director Sam Raimi was constrained by the comic books with his three Spider-Man movies, but Kevin Fiege and Marvel Studios let him unleash everything for his latest superhero movie, Doctor Strange in the Multiverse of Madness. The result is fantastic, the most ambitious crossover mash-up and blend of comic book characters to hit the screen since X-Men: Days of Future Past. Loki writer Michael Waldron was the right choice to create this seamless masterpiece of twisty storytelling, and adding music by Batman 1989’s Danny Elfman is the icing on a (dark, funny, horror-themed) cake.
Finally, the multitudes get to witness the madness of the multiverse for themselves–the film arrived this week on Disney+. Is it the best Marvel Studios ensemble movie yet? (spoilers ahead)
With one voice Marvel Studios seems to being telegraphing a merger at least between Sony’s Marvel and Disney’s Marvel. That’s in the first trailer for Doctor Strange in the Multiverse of Madness via the unmistakable voice of one Patrick Stewart, one of the actors behind Professor X aka Charles Xavier, leader of the X-Men in the longest consistently running superhero movie franchise. But is it our Charles, or some Mirror Universe Charles? After the juggling between Sony and Marvel for Spider-Man: No Way Home, the sky is certainly the limit.
Take a look at this long trailer for Doctor Strange in the Multiverse of Madness:
A stroll through the spy units in movies like the 007s of James Bond, the Kingsmen of Kingsman: The Secret Service, the spies of Mission: Impossible, the dueling and partnering international agents of The Man from U.N.C.L.E., and even the heroine of Atomic Blonde all provide an avenue for fans of the spy genre to see how an actor could also portray a spy of another franchise. An example of this is Pierce Brosnan’s run on Remington Steele as prep for his destined role as James Bond. How would Colin Firth look as a Bond, or Charlize Theron? A similar comparison can be found in the new film, Men in Black: International, and its new novelization by author R.S Belcher.
How would Chris Hemsworth, formerly Captain Kirk’s dad in the first Star Trek reboot movie, but now engrained in the psyche of moviegoers everywhere forever as Thor, especially after his character change-up in Thor: Ragnarok, which tweaked the character with the humor that the actor seems to infuse into his other films and public appearances. As Men in Black’s London division Agent H, Hemsworth is this character–they are indistinguishable. It makes sense–it’s how good casting works–but it will be impossible to read the character and not think of the actor’s persona, charm, and smile as you read it. You may try, but the character of H seems to be one that only Hemsworth could play. Not so much directly written for Tessa Thompson is the new Agent M. The character is a solidly conceived rookie in a wild, fun, and faithful follow-on for the Men in Black franchise. But even with roles in Veronica Mars, Heroes, Creed, and Valkyrie in the Marvel movies, she doesn’t have that same star power–yet. But the novelization is quite a vehicle for that Hemsworth persona, and his fans will love the book as much as they loved the film. How would Hemsworth appear in an Ian Fleming novel? You’ll find out here in this new novel of the British spy genre.
Credit is due to the underlying screenplay written by Art Marcum and Matt Holloway, but the novelization of Men in Black: International also has some of the finest alien supporting characters of the series, and the story is every bit as consistently full of fun and futuristic science fiction as the first and third movies (far surpassing the second entry in the franchise). The alien Pawn character Pawny is right up there with Michael Stuhlbarg’s Griffin. Pawny is lovable and loyal, a bit like Dobby from the Harry Potter movies.
What defines the Men in Black the best? The neuralyzer? The Noisy Cricket? The suits? Or maybe its the sunglasses. 1997, 2002, 2012, and 2019. Plenty has changed in 22 years since the first Men in Black movie, but readers of a new book on all four films in the MiB franchise will learn a lot hasn’t changed. As part of the release of the latest entry in the series, Men in Black International, Titan Books partnered with Columbia Pictures to put together Men in Black Films: The Official Visual Companion to the Films, an oversized, chrome, hardcover guide spanning the creation of the MiB universe and each film from the original comic books to the new movie.
Writers Lisa Fitzpatrick and Sharon Gosling interview the directors, writers, visual effects crew, and other artists and actors from each movie to find out why the series has resonated with sci-fi audiences. Moving between images from the film, the characters, and plots, to what happened behind the scenes to develop the ideas from page to final film, readers will get two views of the films: one in-universe and one real-world. It’s told chronologically, giving equal treatment to each film. Along with stars Will Smith, Tommy Lee Jones, James Brolin, and now Chris Hemsworth and Tessa Thompson, you’ll see familiar characters from the past played by Tony Shalhoub (Galaxy Quest), Michael Stuhlbarg (The Shape of Water),Luke Cage stars Rosario Dawson and Mike Colter (Luke Cage), and Rip Torn (Defending Your Life), and you’ll meet new characters played by Emma Thompson and Liam Neeson.
The writers find lots of common threads with the first three films because of the overlap in creators, so look for some deep dives into the moviemaking process from director of the first three films, Barry Sonnenfeld, producers Laurie MacDonald and Walter F. Parkes (and how they coordinated ideas with executive producer Steven Spielberg), production designer Bo Welch, set decorator Cheryl Carasik, and, of course, Rick Baker, monster (and alien) maker, plus dozens more. It’s all a nostalgic look back to some of the major creators that guided the look of Hollywood in the 1980s and 1990s. It includes commentary from comic book creator Lowell Cunningham and the several writers that had a hand in the screenplays. From the great futuristic props to those sunglasses and black suit changes, every major talent behind the camera gets to share where the ideas came from, with full-color photographs documenting the production steps along the way.
Guillermo del Toro’s At Home With Monsters was an eye-opening look at the depths to which the renowned fantasy film director has gone to immerse himself in the creative process, revealing images of his own personal collection of the strange, creepy, and unique from scree-used artifacts to oversized recreations of the Universal Monsters that inspired him early on. The book (reviewed here at borg.com) was a great entryway to prepare readers and audiences for his latest film, The Shape of Water, nominated for thirteen Academy Awards and reviewed earlier here this week. The latest look into the mind of del Toro explores this movie from its inception to the final filming decisions. It all can be found in Insight Editions’ new volume The Shape of Water: Creating a Fairy Tale for Troubled Times, by Gina McIntyre.
In a year that saw a failed re-launch of the Universal Studios famed monster movies with the first installment The Mummy (reviewed here), it would be del Toro who brought forth a worthy retelling of sorts of that studio’s Creature from the Black Lagoon. The idea for a story of an Amphibian Man and Beauty and the Beast story where the creature is united with a mute janitorial worker began in 2011 in a simple conversation. As time went on del Toro and screenplay co-writer Vanessa Taylor built a story, and del Toro singled out actors for key roles. First and foremost was Sally Hawkins as lead character Elisa, who oddly enough was writing her own story about a mermaid that didn’t know she was a mermaid. del Toro and Hawkins began working together at that point. As with his other films, del Toro creates biography sheets for his characters. Included in McIntyre’s book are tipped-in pages of some of these biographies, allowing readers and writers to examine how much the actors were given about their roles as backstory.
Along with the genesis of the story,The Shape of Water: Creating a Fairy Tale for Troubled Times examines the creation of the four suits worn by Doug Jones as the creature. Hawkins, Jones, and co-stars Richard Jenkins, Octavia Spencer, Michael Stuhlbarg, and Michael Shannon, all describe their takes on their roles, their work with del Toro, and their interaction with other performers. McIntyre includes interviews with del Toro, the key cast and production crew, including insight rarely seen in behind the scenes movie books, like rationale for costume designs, provided here by costume designer Luis Sequiera. del Toro not only significantly backed the production for years financially, he was involved in every key decision in the film. He kept costs down by in part utilizing the sets for the television series The Strain.
The book examines the unique color palette that audiences will take away as a hallmark of this film. A highlight is the discussion of the black and white scene from the film, unthinkably shot in a single day. Much of the film relied on old-school practical effects, including actual underwater filming with Doug Jones in costume, but del Toro also incorporated digital effects for the more dangerous scenes and clean-up work. The multi-year process for designing and revising the creature suit from clay to prosthetics, foam, and rubber is well documented in the book.
With the unique signature of the only director that could pull off a film like The Shape of Water, have no doubt it is worthy of a parade of Oscar recognition. As for direction The Shape of Water is a triumph for Guillermo del Toro’s sheer bravery in choices. As for acting it’s the perfect mix of the four top acting tiers: a superb performance in a challenging role by a lead actor and actress, and a superb performance in a challenging role by a supporting actor and actress. del Toro’s story, too, is novel, soaring and magnificent, even if it may be derivative of many fairy tales, folklore, and past fantastical films. In fact it’s del Toro’s intelligent reimagining of stories from Cinderella and Beauty and the Beast on a backbone of films like King Kong, Splash, and The Creature from the Black Lagoon that lends some familiarity and authenticity to its story and characters to touch audiences. Ultimately the finely crafted assemblage is greater than the sum of its parts, forming the stuff of those classic best pictures of the year of decades past.
The idyllic early 1960s is stripped of its patina to a very real and difficult world beyond the happy families as seen in the slick marketing and television shows of the day, at least for the average person trying to find their way. A mute woman named Elisa (Sally Hawkins) and her co-worker Zelda (Octavia Spencer) work in a quasi-government corporate facility as janitors. When a Fed named Strickland (Michael Shannon) brings a gilled, man-like creature (Doug Jones) he captured in South America to the facility for study, Elisa covertly befriends it. When Strickland and his military cronies decide it’s time to vivisect the creature, Elisa enlists a friend in her apartment complex (Richard Jenkins) to try to get the creature to safety, with even Zelda and a lab researcher (Michael Stuhlbarg) joining along in her plan.
The tragedy of Oscar season is the lack of nomination for Doug Jones, the modern Man of a Thousand Faces (and bodysuits), who has played every character in commercials from McDonald’s Mac Tonight to one of the terrifying Gentlemen of Buffy the Vampire Slayer to Marvel’s Silver Surfer, to the star of del Toro’s Pan’s Labyrinth, and ghosts in his Crimson Peak and Abe Sapien in his Hellboy series, and he is currently headlining Star Trek Discovery, again in prosthetics. It is a truth that no other actor has the experience and physical skill and talent required to perform in the roles he is sought out for, and his “Amphibian Man” in this film is a showcase of his singular grace, elegance, and style. His understanding of animal movements and reactions is impeccable. Sally Hawkins, seen in countless performances (a standout in Fingersmith, Layer Cake, Tipping the Velvet, Blue Jasmine, where she was also nominated for an Oscar, and Never Let Me Go, among other films, and even a bit part in Star Wars: The Phantom Menace), perfectly captures a life in silence and a hopeless romantic. Her piercing stares at Strickland nearly slice him in two. Academy Award winner Octavia Spencer (The Help, Hidden Figures, Snowpiercer, Medium, The X-Files) plays Zelda for laughs for the most part, and her ramblings about her lazy husband and her support of Elisa are wonderful. Richard Jenkins (Silverado, Hannah and Her Sisters, The Witches of Eastwick, Wolf, Absolute Power, Into Thin Air, Jack Reacher, Bone Tomahawk, LBJ) takes on a role as neighbor Giles, a part like nothing audiences have seen him play before, a down on his luck ad man, he is boxed in from gaining the love that he seeks. del Toro makes it possible for each moviegoer to see himself/herself in each of these characters.
When the worst of us does its best to silence the rest of us, you get a story like 1971’s Pentagon Papers bombshell. When a voluminous, decades-in-the-making, confidential government report that demonstrated unconstitutional behavior by a succession of presidents from Truman through Johnson is leaked to the press, The New York Times first reported on it, and the Nixon administration sought and was granted an injunction preventing the Times from publishing further articles on the subject. Director Steven Spielberg focuses his new expertly crafted biopic The Post on The Washington Post as it decided whether to publish excerpts of the Pentagon Papers in the face of the Times injunction, primarily through the eyes of newspaper owner Katherine Graham, played by Meryl Streep, and managing editor Ben Bradlee, played by Tom Hanks. For the average moviegoer, Spielberg takes a rather mundane footnote in American history and makes it completely engaging and entertaining. Carefully re-creating the early 1970s more than 45 years later with everything from the annoying mishandling of coins as you tried to make a payphone call, to the rotary phones we all used, to the weekly ritual of the family newspaper strewn across the living room, to costume designer Ann Roth’s hand-sewn vintage wardrobe re-creations, eyeglasses, jewelry, and hairdos of the era, to old technology and random items on shelves (that might prompt you to think it’s time to get a new iced tea pitcher), to the thankfully bygone days of women sitting in one room at a party and the men in another, to board rooms completely devoid of women (although today there is still rarely more than one or two), Spielberg makes the best use of the film medium, sharing a timely and important story for a new generation of moviegoers.
Filmed in the same 1970s noir style as Alan J. Pakula’s All the President’s Men (and using a newsroom set that is almost as accurate as that film’s 1975 California movie set version of the real thing), The Post might as well be a prequel. It’s almost as good, lacking some of the more heart-pounding, real-life thrills of Watergate, like the mysterious informant Deep Throat, the uncertainty of whether someone in the government was going to think The Washington Post’s press coverage was worth killing over, and the perceived nature of the stakes (the executive branch vs. the Fourth Estate). To his credit Spielberg had the more difficult task of re-creating an era and a newsroom in 2017, when Redford was filming his movie only three years after the events took place (and Spielberg is also certain to illustrate the stakes to both the players and the nation of this earlier event). From the opening scene Spielberg traverses familiar territory, opening with an embedded government wonk in a warzone in Vietnam, as believable as his earliest team-up with Hanks, in Saving Private Ryan. Seamlessly composer John Williams rejoins his long partnership with Spielberg in this scene, offering one of his best scores in years, alternating within the film an intensity that rivals his Raider of the Lost Ark compositions with the contemplative import of the moment realized in his Schindler’s List soundtrack.
Yesterday is today, as scene after scene attests to the same corporate deal making, the same roadshow investors, the same IPO efforts, the same boardroom antics, the same misogyny, the same shuffling of blame, and the same indifference to the public good permeates the nation and the news. Convincingly selling us on the gravity of the story is the best ensemble cast put together in the past year. Streep plays a surprisingly layered Katherine Graham, a socialite who would become the first woman Fortune 500 CEO and first woman to helm a major newspaper, best known for her role in the Pentagon Papers and Watergate. Streep never ceases to amaze as she creates yet another character as believable and authentic as any of her past award-winning performances. The Tom Hanks that won best actor Oscars for Philadelphia and Forrest Gump is also back, playing the strident editor Bradlee for all it’s worth, complete with the editor’s accent, brusque language and bravado, equal to Jason Robards’ Oscar-winning take on the same man in All the President’s Men. The rest of the cast is a virtual Who’s Who of the current top genre actor scene.
Only a free and unrestrained press can effectively expose deception in government. And paramount among the responsibilities of a free press is the duty to prevent any part of the government from deceiving the people and sending them off to distant lands to die of foreign fevers and foreign shot and shell.
— United States Supreme Court Justice Hugo Black, NY Times v United States
The Post is the next in a prestigious line of the drama sub-genre of motion pictures focusing on journalism, a group featuring great films like Citizen Kane, Meet John Doe, The China Syndrome, Call Northside 777, and Zodiac. The Post could be seen as a sequel of sorts to another film classic from this group, the Academy Award-winning 1976 film All the President’s Men. That film, which told the story of The Washington Post coverage of the break-in at the Watergate Hotel that led to President Richard Nixon’s resignation, co-starred Jason Robards as executive editor Ben Bradlee. The Washington Post is again front and center in The Post, this time with Tom Hanks as Bradlee and Meryl Streep as publisher Katherine Graham (who was an active player in the events in All the President’s Men, but the character did not appear in the film).
With director Steven Spielberg, Streep, and Hanks attached to the film, it’s likely The Post will be a big Oscar contender next March. The Post tells the story of The Washington Post’s decision to disclose The Pentagon Papers over the course of a few weeks in June 1971, an extensive government study that would show that the government had hidden from the public and media the true extent of U.S. activity in the Vietnam War. The decision of the Supreme Court would stifle the media for 15 days before finally providing some guidance on when the government may restrict the press from certain disclosures.
The film features plenty of familiar faces, including Alison Brie as Graham’s daughter Lally Weymouth, Carrie Coon as Meg Greenfield (Post editorial writer and confidante of Graham), David Cross as Post editor Philip Geyelin, Bruce Greenwood as Robert McNamara (President Johnson’s secretary of defense), Tracy Letts as Paul Ignatius (President Johnson’s assistant secretary of defense), Bob Odenkirk as Ben Bagdikian (the reporter for The Post at the center of the Pentagon Papers coverage), Michael Stuhlbarg as Post managing editor Eugene Patterson, and Zach Woods as Daniel Ellsberg, the military analyst who disclosed the Pentagon Papers and was charged with espionage.
Doctor Strange. Need a great escape this week? On the one hand Marvel Studios’ fourteenth big screen Marvel entry is very much a product of the Marvel Comics of Stan Lee. Audiences just saw a similar origin story early this year in Deadpool, and we’ve seen similar stories from Daredevil, Spider-man, and Hulk, as well as in the DC Universe in Batman Begins and Green Lantern. Yet in its first act you realize Doctor Strange is a movie a tier above The Avengers and Justice League member films. It also competes meaningfully in the mashed-up sci-fi and fantasy realm alongside Guardians of the Galaxy. As to sci-fi in its opening act Doctor Strange makes any visual amazement found in the twisty cityscapes of The Matrix trilogy or Inception pretty much irrelevant by comparison. And when you take the best actors around and put them together you’ve upped the ante for not only the Marvel Cinematic Universe, but suddenly every forthcoming superhero genre effort has a new benchmark to aspire to.
Everything Benedict Cumberbatch (Sherlock, The Hobbit, The Imitation Game, Star Trek Into Darkness) touches turns to gold. His Doctor Stephen Strange is all of Dr. House, M.D., and Sherlock Holmes. And he transforms into an Eastern mystic with a vibe and look that assures us future roles that years ago would have gone to Max Von Sydow or Vincent Price will continue to have a ready actor to fill their shoes.
This may be the best recent use of 3D in the theater since the last Transformers entry. Viewing it in 3D is a must, from Doctor Strange’s spell weapons to a world colliding with an amped up Spirograph meets Kaleidoscope-infused reality, conflicts on Salvador Dali paintings come to life and M.C. Escher and Labyrinth-inspired battlefields, and on to journeys through distant outer space and beyond time, crisp clarity and beautiful cinematography reveals modern effects at their best thanks to the production of Kevin Feige, who has coordinated everything Marvel for both Disney and Twentieth Century Fox, and director of photography Ben Davis (Guardians of the Galaxy, Avengers: Age of Ultron, Kick-Ass, Stardust, Layer Cake).
Although earlier images have surfaced of Marvel Studios’ coming big screen production of Doctor Strange, Friday night the studio released several images of star Benedict Cumberbatch and some very interesting pieces of concept art. Not since Robert Downey, Jr. was cast as Tony Stark has the studio really nailed its casting efforts as with Cumberbatch’s match to this classic comic book character.
This latest Marvel Cinematic Universe entry is directed by Scott Derrickson, known for his horror work in films like Deliver us From Evil, the remake of The Day the Earth Stood Still, and The Exorcism of Emily Rose, so expect a darker Marvel film coming your way.
Doctor Strange co-stars Rachel McAdams (Sherlock Holmes, State of Play) as Christine Palmer, Tilda Swinton (The Chronicles of Narnia, Snowpiercer) as The Ancient One, Mads Mikkelsen (Casino Royale, Rogue One: A Star Wars Story), Chiwetel Ejiofor (Serenity, The Martian) as Baron Mordo, Amy Landecker (Revenge, Early Edition), Scott Adkins (Expendables 2, The Bourne Ultimatum), and Michael Stuhlbarg (Hugo) as Nicodemus West.
Above and after the break, check out some great concept art from the production of Doctor Strange:
