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Movie Review

Doctor Strange is one seriously marvelous head-trip

Alex Bentley
Nov 3, 2016 | 4:38 pm
Doctor Strange is one seriously marvelous head-trip
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It’s difficult to fathom the idea now, but the creation of the Marvel Cinematic Universe was a gamble when Iron Man came out in 2008. Prior to that, the only truly successful comic book movies had featured Batman, Superman, Spider-Man, and the X-Men. Fourteen movies later, Marvel can do almost no wrong, with its cultural cachet so high that it can introduce almost any new character without hesitation.

Enter Doctor Strange, a head-trip of a movie that fits perfectly in the established world of Marvel. Dr. Stephen Strange (Benedict Cumberbatch) is a highly skilled neurosurgeon who suffers massive hand injuries in a car accident. Determined to regain the use of his hands, he searches far and wide for ways to heal, a quest that eventually brings him to Nepal.

There he finds the Ancient One (Tilda Swinton), whose method is spiritual enlightenment rather than physical repair. She teaches her students, which also include Mordo (Chiwetel Ejiofor) and Wong (Benedict Wong), to tap into the potential of their minds. This technique, along with a specific piece of hardware, allows them to create magic, such as conjuring weapons or portals out of thin air.

Per usual, there is a big bad adversary, Kaecilius (Mads Mikkelsen), one of the Ancient One’s former students, as well as a love interest in the form of Christine Palmer (Rachel McAdams), a doctor at Strange’s hospital. How their stories mesh and intertwine with that of Strange's is an impressive feat of movie engineering by writer/director Scott Derrickson, who was previously best known as a horror movie filmmaker.

There’s nothing horrific about the results he produces here as, despite the mind-bending nature of the magic on display, Doctor Strange is actually one of the most straightforward and compelling Marvel movies yet. Derrickson and co-writers Jon Spaight and C. Robert Cargill lay out a precise story, one that somehow remains logical in its steps while showing seemingly illogical things.

Anybody who doesn’t come away impressed by the CGI work in this movie needs to have their pulse checked, as it creates scenes that are like Inception on steroids. People waving their hands around in the air to create spells has the potential to seem ludicrous, but when what they summon is nothing less than a complete shift of reality all around them, any sense of disbelief is wiped away.

Cumberbatch is beloved by a certain segment of pop culture fans, but this is the role that should finally make him a megastar. He embodies every inch of Stephen Strange, from egotistical bastard to chastened acolyte to soaring superhero. The stellar supporting cast of McAdams, Swinton, Ejiofor, Mikkelsen, and Michael Stuhlbarg, among others, is among the best in Marvel history.

I’ll leave it to others to make sense of the Marvel-y details in Doctor Strange, like Infinity Stones and other superhero cameos. But, as a stand-alone origin film, it more than fits the bill for blockbuster entertainment.

Landscapes can shift with a twist of the hand in Doctor Strange.

Magic landscapes in Doctor Strange
Photo courtesy of Marvel Studios
Landscapes can shift with a twist of the hand in Doctor Strange.
movies
news/entertainment

Movie Review

The End of Oak Street can't live up to its Spielberg inspirations

Alex Bentley
Aug 13, 2026 | 12:50 pm
Ewan McGregor and Anne Hathaway in The End of Oak Street
Photo by Daniel McFadden
Ewan McGregor and Anne Hathaway in The End of Oak Street.

Steven Spielberg is the iconic director of the last 50 years, so it’s no surprise that many other filmmakers have borrowed from his classic films. But most of the time those come in the form of references or homages, not straight up theft, which is what it feels like watching The End of Oak Street play out in front of your eyes.

Set in the early 1980s in an idyllic suburban neighborhood of an unnamed city, Denise (Anne Hathaway) and Greg (Ewan McGregor) are parents to two teenagers, Audrey (Maisy Stella) and Brian (Christian Convery). They’re also possibly heading toward divorce, as Audrey is secretly writing a novel with a thinly-veiled plot about their life, and Brian is cagey about having to earn extra money with a pizza delivery job.

That all gets put on the backburner when a mysterious event takes their entire neighborhood back to the time of dinosaurs. Armed with little more than a shotgun and sledgehammer, Audrey and Brian do their best to keep the family safe in their house. But the longer the ordeal goes on, circumstances force them out onto the streets and into the increasing danger that’s all around them.

Written and directed by David Robert Mitchell, the film tries immensely hard to be like the Spielberg movies its filmmaker clearly adores, but fails at almost every turn. It never earns the broken family in ‘80s suburbia vibes that were prevalent in E.T., going all in right away in the opening scene with a neighborhood block party that feels forced. Other elements like a bully who has it out for Brian, the family dog that disappears, and an angry neighbor come across as the tropes they are and not as organic parts of the plot.

When it finally gets to its dinosaur sequences, they pale in comparison to those found in Jurassic Park. The strange manner in which the dinosaurs appear is a big part of that, but the action involving them forgoes ominous moments that could build tension for those that play up gore in an unexpected way for a PG-13 movie. Many of the attacks have so little emotional meaning that they come off as comical, which is entertaining but in a hollow way.

As if those weren’t enough, Mitchell - perhaps at the behest of producer J.J. Abrams (who made his own Spielbergian film, Super 8) - tries to honor Spielberg in other ways. Just like in Jaws, he employs the use of a split diopter lens, which keeps characters in both the foreground and background in focus. But instead of using it judiciously, it’s brought out in three separate scenes, including a laughable one with the four family members where it turns into overkill.

Hathaway, coming off of a role in The Odyssey that could earn her an Oscar nomination, is the best part of this film. But even her evident skills are dragged down by the ridiculousness of the story, which requires hysterics that even she can’t sell. McGregor can normally be counted on for a good performance, but he gives several line readings with strange cadences that make his already-underwritten character come off worse. Stella and Convery are okay, but their roles are unmemorable overall.

Mitchell and his team can never settle on exactly what type of film they were trying to make, and so even though The End of Oak Street has a few moments that work, they’re surrounded by many others that don’t. In trying to emulate Spielberg - there’s even a blatant Back to the Future (produced by Spielberg) rip-off towards the end - all Mitchell has done is show how difficult it is to be the master.

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The End of Oak Street opens in theaters on August 14.

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