CCAD Podcast - Harry Potter Week 4

We spoke about all things Harry Potter on this weeks CCAD podcast, in time for the release of Fantastic Beasts.

'Doctor Strange' Review - Scott Derrickson (2016)

Doctor Strange is the latest instalment into the MCU. Or for those of you reading this review from the underside of a rock, the Marvel Cinematic Universe. The movie follows Dr Stephen Strange, a neurosurgeon played by Benedict Cumberbatch. As tragedy befalls Dr Strange after a brutal car crash, he finds himself on a quest to regain control of his body which is deemed irreparable. I am part of a weekly podcast at my University where we discuss cinematic issues or topics each week. Last weeks was Marvel, if you'd like you can check that out here where we discuss all things MCU.

My first issue with this movie comes entirely from the first act. In many ways we're lead to feel sympathy for Dr Strange following his accident. I found that difficult as the accident was the product of Dr Strange driving his expensive Lamborghini around narrow hillside roads at 100mph in the dark. The pressure is mounted upon Dr Strange and Cumberbatch portrays this quite well, only this time with an at times phoney American accent. In the end Dr Strange refuses to accept that his career is ruined, and sets off to the East for healing. What he finds instead is spiritual enlightenment, and guidance from 'The Ancient One' (Tilda Swinton) a powerful and knowledgeable sorceress. 

The fundamental flaw of 'Doctor Strange' is its inability to distinguish itself as a movie within its own right. It cannot seem to stand on its own two feet, and its ownership by Marvel only ever seems to serve as a hindrance. What Marvel seemed to do so well in its latest string of movies is wallow in its self-indulgence. Its tongue in cheek, its often ridiculous but in most cases (The Avengers) it works. The parallels between East and West that are defined within Doctor Strange are too vast, and thus prevent the pop culture references from ever hitting home. Doctor Strange is however a fantastic visual spectacle and a reminder of just how advanced CGI is, and how it can impact storytelling to great effect. Under the command of Marvel however, the origin story of Doctor Strange struggles to be anything more than Inception in cool capes. 

The talented cast often work wonders with their thinly written characters. Mads Mikkelsen is as engaging as ever as the dead eyed villain intent on bringing Earth to its demise. Tilda Swinton is as commanding as ever with her on screen presence. Chiwetel Ejiofor seems to have plucked an ever-changing accent out of nowhere for his character, which falls somewhere between English and American. At least Cumberbatch made his mind up. The talented cast introduce a new set of characters to the MCU reasonably well, but their chemistry cannot match that of the Avengers or the Guardians. Unfortunately for the cast, comparison is inevitable as they all march towards their inevitable meet and greet which lies in the very near future. (This is me saying stay until after the credits. It's my favourite one yet.)

In conclusion; 'Doctor Strange' is another moderately healthy addition to the MCU, and an above par superhero origin movie. A visual treat on a grand scale, Doctor Strange delivers on the high expectations fans will have over a beloved character from the comics. Despite not standing up to its Marvel counterparts, Doctor Strange offers new themes and characters that will ultimately slot right in to the expansive universe Marvel continue to build upon. 

'Nocturnal Animals' Review - Tom Ford (2016)

Fashion Designer Tom Ford returns with his second feature film with this stylish thriller starring Amy Adams and Jake Gyllenhaal, with Aaron Taylor Johnson and Michael Shannon as part of the supporting cast. Ford constructs a non-linear journey of love, loss and violence that feels like a feverish dream. Tense and atmospheric, 'Nocturnal Animals' is stylistically superior, as one would expect from a fashion conglomerate such as Tom Ford. The parallels of each set of characters are drawn on exquisitely through use of colour, composition and visual motif. Though at times rather self-indulgent, the movie feels artificial and devoid of any real meaning. The movie often poses the question of what does it mean to learn the truth, but never truly delivers with a less than satisfactory conclusion.

Gyllenhaal steals the show once again with his performance as a man crippled with grief. He shows his range and versatility through his performance as two characters within the context of the movie. Though he does not carry the movie alone. Performances from Shannon and Taylor-Johnson take the levels of tension to a whole new level. There were plenty of scenes that were gripping and completely immersive but were often brought to a halt by Adams, and what seemed like boredom with stretched material. Adams brought her usual grace and charisma, but it wasn't enough to save what was essentially a lost performance of a lost character. 

The first act of 'Nocturnal Animals' introduces us to the glamorous yet dark and cold world of fashion. Then, all of a sudden tells us to piss off to where we belong with our tail between our legs. We suddenly find ourselves in a pit of despair, jumping between two contrasting worlds of violence and melancholy. The following acts pace themselves rather well, as Ford questions the truth and authenticity of bourgeoise values. The movie has the occasional pop at consumerism, interestingly enough as Ford seemed to be promoting his makeup and clothing range throughout the entire film. Yet behind the mask lies a strong enough narrative grounded by real performances.

Overall, Ford manages to just about balance out the style and the substance of the movie.  However 'Nocturnal Animals' always felt to be lacking in areas and packed more punches than it could ever manage to deliver. Abel Korzeniowski delivers a brooding score which lends itself handsomely to some of the harrowing scenes and imagery. I did on a personal level enjoy the movie, it's a welcome addition to the thriller genre. It's also another demonstration of Fords artistic and visual ability to tell a story, and one that is definitely worth your time. 

'Arrival' Review - Dennis Villeneuve (2016)

Arrival is a Sci-fi film directed by Dennis Villeneuve, the 49-year-old Canadian director behind plenty of commercial and critical success with: Enemy, Prisoners and Sicario. Arrival follows language professor Louise Banks played by Amy Adams, and her experiences following the spontaneous arrival of 12 mysterious extra terrestrial ships around the world. Co-starring Jeremy Renner as scientist Ian Donnelly who along with Adams, is assigned the task of communicating with the aliens aboard the UFOs reminiscent of the black monolith in Stanley Kubrick’s 2001: A Space Odyssey.  

I went into the theatre alone with a certain amount of expectation, giving this is a highly anticipated movie from one of the most successful directors of recent years. I must say that upon leaving the theatre I was not disappointed; as a matter of fact, I was completely blown away. I hadn’t felt like this about a sci-fi since Christopher Nolans Interstellar exactly two years ago. Villeneuve clearly has a lot on his mind with Arrival, yet so elegantly portrayed his ideas with immense care and precision. This is backed up by fantastic performances from Adams and Renner, whose chemistry seems to fill every inch of the screen when they’re together. Adams deserves an Oscar nod at the very least. Her nuanced performance was hypnotic at times, as a middle aged woman facing her past, present and even her future as the world seems to revolve solely around her. Forrest Whitaker is part of the supporting cast as colonel Weber who offers his best performance since The Last King of Scotland.

Like any great Sci-fi, Arrival gives us more than just cool explosions and a pending sense of imminent doom over destructive aliens (I’m looking at you, Resurgence). Instead it poses some of the most important questions we can ever ask ourselves as human beings. The moral complexity of the film is hinged on the fundamental belief that we are stronger together. Something that resonates now as much as it has ever done. At some points the movie had me shaking my head in disbelief at the arrogance and stubbornness we can so easily pinpoint within human nature. So much so that you can easily find yourself rooting for the enigmatic floating objects in the sky. Arrival allows you to read between the lines of its extremely potent messages and interpret them however you may without bias. This is a powerful and difficult tool to wield as a filmmaker, and Villeneuve does so expertly. Arrival is so emotionally engaging at the right times, whilst also maintaining a level of grit and intelligence throughout its near 2-hour runtime. Renner offers rare moments of wit which serve as perfectly timed tension relief, before throwing you right back into the hornet’s nest. There were a few moments in the middle act which felt slightly sluggish, but any slight pacing issues are quickly rectified.

Arrival is one of the strongest movies of 2016. A colossal feat of filmmaking to be considered as a future sci-fi classic. Confident and bold direction, strong performances and a blissful soundtrack from Johan Johannson make up for a cinematic experience you simply shouldn't miss. Once again Villeneuve is at the top of his game, demonstrating he is one of the best directors working today with yet another visionary achievement. I look forward to more from him and seeing this movie in cinemas again very soon.