MCU Retrospective: Doctor Strange

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. And we are back to origin stories… 

70/100

A tortured genius, a bit of an asshole, a lot socially inept—I could be describing any number of the characters Benedict Cumberbatch has played throughout his career, but in this particular case I am describing Stephen Strange, first name-dropped in Captain America: The Winter Soldier and now, two years later, making his big screen debut. Yet while Cumberbatch seems destined for the role, and indeed he was the first actor suggested, scheduling conflicts forced Marvel to look at a whole host of other performers, with everyone from Joaquin Phoenix to Matthew McConaughey apparently in the running, as well as future co-stars of Marvel’s upcoming Moon Knight, Oscar Isaac and Ethan Hawke. But, finally, Cumberbatch sealed the deal, cementing his typecast forever.

There’s a reason, though, that Cumberbatch is so well known for playing these rather callous individuals (a trend which started with Sherlock back in 2010)—he’s damn good at it. Stephen Strange, renowned neurosurgeon, is a huge ass. While he seems to have a decent relationship with his colleagues, he regularly touts how superior a surgeon he is (especially to Michael Stuhlbarg—woefully underused here—as Nicodemus West, a minor antagonist to Strange in the comics); he has an obnoxious collection of rotating watches; he turns down patients because he doesn’t want to mess up his perfect record and treats them as experiments rather than people in need of help. His fear of failure and desire to control everything drive him to extremes, so when he gets into a car crash, it’s not exactly heartbreaking.

It kickstarts an existential crisis for Strange, though, who loses the use of his hands—the hands which gave him his livelihood, which vaulted him to excellence—and, in his despair, pushes away the only person who truly cares about him (and his ex), Dr. Christine Palmer (Rachel McAdams), another in the long line of neglected female love interests. Eventually, he sinks so low that he is willing to seek out solutions that come not from science, but magic. Dr. Strange quickly finds his way to the Kamar-Taj in Nepal, where he meets a group of sorcerers led by the Ancient One, played by Tilda Swinton.

Marvel, as in Iron Man 3, tried to sidestep controversy in casting Swinton, and instead wound up stirring it up as they cast a white woman in a role traditionally occupied by a Tibetan man. Doctor Strange’s director, horror veteran Scott Derrickson, avoided casting an Asian actor in an attempt to steer clear of stereotypes, saying, “In this case, the stereotype of [the Ancient One] had to be undone. I wanted it to be a woman, a middle-aged woman. Every iteration of that script played by an Asian woman felt like a Dragon Lady… Who’s the magical, mystical, woman with secrets that could work in this role? I thought Tilda Swinton.” Co-writer (with Derrickson and Jon Spaihts) C. Robert Cargill called the situation “Marvel’s Kobayashi Maru,” referencing the impossible training situation from Star Trek: have a mustachioed Asian man dispensing “Eastern wisdom” to the white man, or have accusations of appropriation thrown your way by casting a non-Asian.

Yet the choice shouldn’t be between stereotypical representation or no representation at all. As Kevin Feige would later admit, “We thought we were being so smart and so cutting-edge. We’re not going to do the cliché of the wizened, old, wise Asian man. But it was a wake up call to say, ‘Well, wait a minute, is there any other way to figure it out? Is there any other way to both not fall into the cliché and cast an Asian actor?’ And the answer to that, of course, is yes.” (That he declines to elaborate on how he would do this now is perhaps an indicator that he only said this to cover up bad PR from years ago, but…)

Casting Swinton also means that Doctor Strange lacks Asian representation aside from Benedict Wong’s character (named, uh, Wong), something that stings when much of the movie builds itself on Westernized Asian “mysticism,” with monks and magic and chakras and no specificity. The white man goes to Asia, ogles at some things, and finds his spirit healed, hooray! Marvel would have similar problems with Netflix’s critically panned Iron Fist, with Finn Jones’ (white) Danny Rand utilizing his Chi to take down (Asian) bad guys, and to a lesser extent in Daredevil, where season two villainous group The Hand consisted of ninjas that had no characteristics except “foreign/Asian” and “scary.” Daredevil actor Peter Shinkoda would even claim that former Marvel Television head Jeph Loeb said, “Nobody cares about Chinese people and Asian people. There were three previous Marvel movies, a trilogy called Blade that was made where Wesley Snipes killed 200 Asians each movie. Nobody gives a shit.” 

(Loeb, it should be noted, reported to Ike Perlmutter rather than Kevin Feige until Marvel Television shut down in 2019, giving all television powers to Feige. It also should be noted that Marvel Television had Marvel’s first Asian superhero with Chloe Bennet’s Daisy Johnson, aka Quake, in Agents of S.H.I.E.L.D., which also featured Ming-Na Wen’s Melinda May as a main character for all seven seasons, and had an Asian co-showrunner in Maurissa Tancharoen, whose brother Kevin helmed some of the series’ best episodes. S.H.I.E.L.D. is where it’s at, folks.)

In the case of Doctor Strange, there is also the small issue that China does not recognize Tibet as a sovereign state, and Marvel didn’t want to lose out on that sweet, sweet Chinese box office. Cargill explained, “[The Ancient One] originates from Tibet, so if you acknowledge that Tibet is a place and that he’s Tibetan, you risk alienating one billion people who think that that’s bullshit and risk the Chinese government going, ‘Hey, you know one of the biggest film-watching countries in the world? We’re not going to show your movie because you decided to get political.’ If we decide to go the other way and cater to China in particular and have him be in Tibet… if you think it’s a good idea to cast a Chinese actress as a Tibetan character, you are out of your damn fool mind and have no idea what the fuck you’re talking about.” This was not the first time Marvel catered to China and the CCP, nor will it be the last.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

The circumstances around Swinton’s casting (and Marvel’s historically abysmal handling of Asian representation) are unfortunate, as she does a stellar job as the Ancient One, conveying all the wisdom of eternity while still maintaining a sense of playfulness that prevents the character from slipping into caricature or tropes. And, of course, she really looks like she could be an ageless, ancient sorcerer with immense power at her fingertips. “You’re a man looking at the world through a keyhole,” she tells Strange, and then opens the door.

What follows is a very trippy sequence involving Strange travelling through outer space, tumbling through different dimensions, and getting dragged to hell by a horde of hands. Up until this point, the MCU has largely tried to ground itself in some kind of implausible plausibility. Even Asgard’s magic was cloaked as science and handwaved away with Arthur C. Clarke quotes, but in Doctor Strange, we dive headfirst into something that cannot be explained with pure science, as much as its titular character would like to think so, and open up innumerable doors within the MCU sandbox. Strange, the ultimate logician, gets pushed so far that he seeks answers outside of the scientific realm he built his life on. It’s an interesting conundrum for a character to find himself in, though he seems to change course quickly enough, which leaves us wanting a bit more emotional turmoil. The revelation that magic exists should entirely upend Strange’s world, but we have a plot to get through, after all, and so after the initial shock of the Ancient One punching Strange’s astral form out of his body, he gets down to work.

Like Ant-Man before it, Doctor Strange has all the elements required for some very kooky shenanigans, yet plays it disappointingly safe. To Doctor Strange’s credit, none of its predecessors have tiny hands swarming around the main character as he tumbles through a strange LSD trip, but it never truly breaks free of the largely uninspiring Marvel visual palette. There’s always the sense that things could and should go even further, even though it certainly breaks new ground for Marvel. But not everything in this universe should just be good for Marvel (though that has certainly satisfied me plenty of times, don’t get me wrong), it should be bold in its own right, and Doctor Strange never quite goes far enough, leaving us only with weak comparisons to Inception and The Matrix.

As Strange throws himself into his sorcerer training, and his old arrogance begins to return, though it’s tempered with a bit more humility this time around. Still, he sees fit to pocket the Eye of Agamotto, a powerful magical object with the ability to reverse the flow of time, for himself. Control freak to the last, it would seem. 

Trouble comes in the form of Kaecilius (Mads Mikkelsen), a former student bearing striking resemblance in personality to Strange. Kaecilius wants to fold Earth into the Dark Dimension (whatever that is) and Dormammu (whoever that is, though he is also played by Benedict Cumberbatch) to give everyone eternal life (through locking everyone in a place without time), which is not the most exciting motivation for Marvel villain—world annihilation is so overdone these days—but it’s Mads Mikkelsen, and that gives a measure of gravitas to the proceedings. But it’s not just a desire to avoid the ravages of time that drives Kaecilius: in a reveal that bears less weight than it should, given that the Dark Dimension means virtually nothing to the audience, it turns out that the Ancient One can be so ancient because she draws on force from the Dark Dimension to extend her life, and Kaecilius wishes to drag her hypocrisy out into the light.

That he does, disillusioning fellow sorcerer Karl Mordo, played superbly by Chiwetel Ejiofor; though Mordo does not have a whole lot to do here, Ejiofor is magnetic, and poised to become one of the more interesting characters in future entries. Mordo is rigid, unyielding, and has no tolerance for the bending or breaking of rules, especially as the Ancient One made herself the only exception.

Kaecilius succeeds in fatally wounding the Ancient One, but before she dies, she and Strange astral project to have one final conversation on a hospital balcony, watching the snow fall. “We don’t get to choose our time. Death is what gives life meaning: to know your days are numbered, your time is short,” the Ancient One tells Strange. It’s a beautiful moment frozen in time, and Tilda Swinton is phenomenal; unfortunately, the Ancient One’s excuse for utilizing the Dark Dimension—“Sometimes one must break the rules in order to serve the greater good”—rings a bit hollow. Perhaps “hollow” isn’t the right word, but I wish her hypocrisy had been explored more, rather than by and large glossed over, as it adds an interesting dimension to the world Strange now inhabits, the Ancient One, and Kaecilius.

With their leader dead, Strange, Wong, and Mordo set out to stop Kaecilius and Dormammu once and for all. The finale to Doctor Strange serves as one of Marvel’s more unique ones: set in Hong Kong, our sorcerer trio have a relatively small-time fight against Kaecilius and a couple of his lackeys, but what sets it apart is Strange’s use of the Eye of Agamotto, which means that the final showdown happens while everyone around the combatants goes backwards in time. It’s a neat trick that allows for more engagement than, say, Avengers: Age of Ultron’s mind-numbing onslaught of robots. The real kicker comes when Strange enters the Dark Dimension to go toe-to-toe with Dormammu—not with his magical prowess, but with his mind. 

The actual logistics of this sequence don’t entirely hold up to scrutiny (mostly because it’s never really established what the Dark Dimension actually is), but Strange annoying Dormammu to defeat via a time loop and endless repetitions of, “Dormammu, I’ve come to bargain” is certainly a first for the MCU, and maybe cinema as a whole. (It even became a meme!) If the rest of Doctor Strange had shown the originality it does in its finale, the film would be among the best. As it is, there are brief flashes of brilliance amidst an otherwise rote Marvel story that pretends to be breaking new ground.

To be fair, origin stories are hard. Marvel is at its best when playing in an already-established sandbox, playing its characters off each other and letting them marinate in their interwoven world, but it’s much harder to come out of the gate swinging when so much of your success relies on crossovers and cameos (if that’s a good thing on a storytelling level, well…); if the MCU is a glorified television show, origin stories are a bit like bottle episodes, and like bottle episodes, they don’t always work. Doctor Strange is far from bad, and indeed has some stellar moments, but it’s not exactly memorable, either, though it should have had every right to be.

Groundwork and stray observations: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Well, uh, that’s another Infinity Stone. Cool.
  • Christine Palmer goes by the Night Nurse in the comics, a moniker which goes to the Netflix character Claire Temple in the MCU, portrayed by Rosario Dawson (if we’re still counting the Netflix shows as canon, that is, but with the rumored appearances of Charlie Cox in Spider-Man: No Way Home and Vincent D’Onofrio in Disney+’s Hawkeye, it seems we are).
  • There were rumors flying that one of the potential patients Strange turns down was Captain Marvel, though this turned out not to be the case.
  • “This universe is only one of an infinite number,” the Ancient One says. You could even say that there’s a multiverse of madness out there!

Anna’s Favorite Scene: Strange and the Ancient One conversing on the astral plane while the latter lays dying on an operating table, but runner up is Strange and Kaecilius’ minion duking it out on the astral plane while Christine operates on Strange in reality.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy, 4. The Avengers, 5. Captain America: The First Avenger, 6. Iron Man 3, 7. Iron Man, 8. Doctor Strange, 9. Ant-Man, 10. Thor, 11. Avengers: Age of Ultron, 12. Thor: The Dark World, 13. Iron Man 2, 14. The Incredible Hulk

Doctor Strange Trailer

Doctor Strange is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Fantasia & New York Asian Film Festival Review: Junk Head

Written by Patrick Hao

64/100

If filmmaking is a labor of love, then animation is the 12 Labors of Hercules. It’s a long, lugubrious, and isolating process. For director Takahide Hori, the stop motion animated film Junk Head is one such labor of love.

In a way, the story of the making of Junk Head is much more interesting than the actual film itself. In 2009. Hori, an interior decorator by trade, decided to convert his factory into a movie studio. Like the pioneers of cinema, Hori never intended to make a stop motion film. He discovered that the easiest way for him to make a movie was to simulate movement by taking photos and moving them like a flipbook. The original Junk Head I was finished in October 2013, a 30-minute short film released on YouTube. Encouraged by the positive reception, including from director Guillermo Del Toro, Hori decided to expand on his short film resulting, seven years later, in the 99-minute epic that is Junk Head.

New York Asian Film Festival 2021

Its incredible to see the results of this one-man production. The credits, which shows some time lapse footage of the over 140,000 photographs it took to make the film, just lists Hori’s name repeatedly. Junk Head is without a doubt the singular vision of one artist, which explains the oddness of the final project. The film has the visual panache of the Quay Brothers with the humor of an Aardman film.

The sci-fi epic takes place in a dystopian future in which humans have discovered immortality through genetic engineering, losing the ability to reproduce in the process. They also created clones to serve as a workforce these clones rebelled and descended into the catacombs of the earth, creating a subterranean society. To discover reproductivity, the above ground society sends down a volunteer to the subterranean world. In the process, the volunteer loses all memory and body. The subterranean race receives this new invader warmly, calling him God, and placing his head onto a body. From there, the film takes us on a journey through the monsters, robots, and world of the underground.

This is not the type of movie where the plot matters very much. It is all about characters and designs. The mole men are styled like steampunk mine workers. They speak in an indecipherable language – a mix of phlegm and gibberish. The monsters are these weird clay creatures that are reminiscent of H.R. Giger with the heads of the Alien form Alien, long bodies, and phallic tails.

To say that the Hori wears his influences on his sleeve is an understatement. Each set piece radiates love and passion for anime and movies. Little tributes to The Matrix, Brazil, Tetsuo: The Iron Man and many other pieces are evident throughout.

In order to reach the 99-minute mark, the Junk Head does tend to repeat itself. The film almost has a video game structure in which God finds himself in a new location and must escape the monster of that setting – rinse, repeat. But the visuals are so striking it is hard not to just be engaged with the mastery of the art. In a way the film may be better suited as an exhibit at the Museum of Modern Art than it does for the movie theater.

But, in a film landscape in which movies feel more and more like it is being molded from a pre-formed template, we need more movies like Junk Head. Hori took his boundless creativity, passion, and love to create a singular piece that could have only come from him. The work is onscreen, and that should be celebrated.

Junk Head Trailer

You can purchase a ticket to see Junk Head in Canada from Fantasia Film Festival and in the United States of America at New York Asian Film Festival.

You can follow Patrick and his passion for film on Letterboxd and Twitter.

Sundance 2021 Review: A Glitch in the Matrix

Written by Anna Harrison

70/100

A Glitch in the Matrix starts off by examining an idea that’s been bandied about for years and viewed with varying amounts of skepticism: what if we live in a simulation à la The Matrix? The film heavily features Philip K. Dick’s lecture in 1977 wherein he declares we are, in fact, living in a simulation, a weighty declaration from one of the foremost science-fiction oriented minds. Elon Musk and other bigwigs pop up with soundbites, but A Glitch in the Matrix focuses most of its time on ordinary people—some with families, some without; some with advanced degrees, some with high school diplomas—who happen to subscribe to this theory. 

Director Rodney Ascher playfully obscures the faces of many interviewees with animated, mechanical masks, complete with creaking and scraping sound effects provided by sound designer and composer Jonathan Snipes that toe the line between diegetic and non-diegetic. (The film possesses a level of self-awareness that many within it do not.) We never get to see the expressions of those interviewed, but they lay bare their souls as they describe the metaphysical experiences that led them to believe in the simulation theory. Ascher rarely judges; he simply lets the speakers speak, often accompanied by extensive animations of their narratives and underlaid with appropriately eerie music, though there are moments when the viewers—and speakers—are brought back to reality. At one point, an interviewee’s dogs start barking, completely breaking the immersion and giving a much-needed moment of levity.

The first half of the film is interesting enough, if not that groundbreaking aside from the largely-animated style. The second half, however, examines a question I have not often seen brought up alongside the simulation theory: if we are in a simulation, then our actions should have no real consequences, and so what does that mean for our morality? How do we relate to other people?

Here, the film gets more intriguing and more harrowing, especially as we hear Joshua Cooke speak calmly of murdering his adoptive parents at the age of 19 while believing he was inside the Matrix. Yet many of the others interviewed, strange as it may sound, took the apparent lack of consequences in a simulated world and went in the opposite direction, wanting to “level up” for the person controlling them, concerned more with doing good than running amok. Several admissions turn out to be unexpectedly touching.

This is A Glitch in the Matrix at its best: engaging at a personal level with those interviewed, discussing the why over the what. Unfortunately, this is largely delegated to the back half of the film, but while we have to wait awhile before getting to the heart of the matter, it turns out that the heart, simulated or not, beats quite strongly.

A Glitch in the Matrix Trailer

A Glitch in the Matrix is now available everywhere

You can follow more of Anna’s work on Letterboxd and her website