Like “Spider-Man” director Sam Raimi, Derrickson hails from the world of schlock horror, where he made such seat-jumpers as “The Exorcism of Emily Rose” and “Sinister,” and here, he transitions smoothly to a far bigger canvas (so big that Imax audiences will benefit from more than an hour of footage captured on the company’s large-format digital cameras). Generally speaking, there’s less room for directors to experiment when introducing new heroes, and yet Doctor Strange’s tangential standing within the Marvel canon allows a welcome degree of freedom, while the supernatural dimension of his gifts permits filmmaker Scott Derrickson to bend the rules a bit more than his peers - not enough, some would argue. Like the original pulp comics, which were printed with a standard four-color process that permitted a very limited palette, Marvel movies are all starting to look and sound the same, boasting bright primary colors, magic-hour lighting, and bombastic orchestral scores. While producer Kevin Feige deserves credit for bringing a master plan to Marvel’s big-screen slate, recruiting A-list talent on both sides of the camera and holding them to aesthetic standards that unify the various projects, those parameters are starting to feel every bit as restrictive as real-world physics can be to less-than-super movies. From this second-tier side character, the studio has created a thrilling existential dilemma in which its flawed hero’s personal search for purpose dovetails beautifully with forays into the occult New Age realm of magic and sorcery where Doctor Strange ultimately finds his calling. Yes, this new project shares the same look, feel, and fancy corporate sheen as the rest of Marvel’s rapidly expanding Avengers portfolio, but it also boasts an underlying originality and freshness missing from the increasingly cookie-cutter comic-book realm of late. Night Shyamalan’s soul-searching identity-crisis epic “Unbreakable,” which remains the gold standard for thinking people’s superhero movies. But instead, it’s the very fact of this deeply insecure and wildly overcompensating character’s determination to prove himself - coupled with the setback by which texting while driving cripples his hands and very nearly derails him of that ambition - that makes “Doctor Strange” Marvel’s most satisfying entry since “Spider-Man 2,” and a throwback to M. Perhaps that explains the complex that has driven Strange (that rare superhero who keeps his name after acquiring his incredible new powers) to become such an arrogant New York neurosurgeon, flaunting his skills at work and his Lamborghini Huracán outside the office.Ĭut from the same mold as playboys Tony Stark (Iron Man) and Bruce Wayne (Batman), Strange easily might have become world’s most insufferable superhero. Before long, Strange is forced to choose between his life of fortune and status or leave it all behind to defend the world as the most powerful sorcerer in existence.Īlthough Marvel Studios’ “Doctor Strange” offers very few insights into the childhood of its main character, applying what we know about bullying on American schoolyards, it’s safe to assume it wasn’t easy growing up with a name like Stephen Strange. He quickly learns that the enclave is at the front line of a battle against unseen dark forces bent on destroying reality. When traditional medicine fails him, he looks for healing, and hope, in a mysterious enclave. Stephen Strange's (Benedict Cumberbatch) life changes after a car accident robs him of the use of his hands.
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