Doctor Strange

DOCTOR STRANGE
2016 | Dir. Scott Derrickson | 115 Minutes

"Arrogance and fear still keep you from learning the simplest and most significant lesson of all: It's not about you."

Decorated and pompous neurosurgeon Stephen Strange severely injures his hands in a car accident. Unable to heal his hands with medical science and stripped of his livelihood, Strange spends his last dollar traveling to Kathmandu, seeking a place called Kamar-Taj where he was told his hands could be fixed. Under the tutelage of a powerful sorcerer known as the Ancient One, the unyielding warrior Mordo, and the strict librarian Wong, Strange quickly becomes adept at the Mystic Arts and learns of extra-dimensional forces that threaten the world.

With Doctor Strange, horror director Scott Derrickson skillfully introduces heady magical concepts to the viewer in highly entertaining, often humorous, and visually spectacular ways. While the story of an arrogant man learning to let go of his sense of self-importance to achieve greatness isn't exactly groundbreaking - a common theme running through Marvel Studios' Iron Man and Thor films - the film more than makes up for retreading familiar character work in its thoughtful treatment of spirituality and its phenomenal presentation. What also sets this cinematic iteration of Doctor Strange apart from the vast majority of other comic book superheroes that have made the leap to the silver screen is that he uses his mind more than his fists to protect the world, as demonstrated at the end of his character arc in this film.

The movie's unique psychedelic visuals are truly fantastic, most notably during its action scenes featuring New York City transformed into a constantly-twisting kaleidoscopic MC Escher-esque maze, and a Hong Kong street in the midst of a catastrophe being undone as time flows backwards. The mind-bending sequence in which the Ancient One sends Strange reeling through the multiverse to show him the worlds beyond the material plane is worth the price of admission alone. Also worth mentioning is the relatively subtle effects work on Strange's Cloak of Levitation, serving less as a magical accessory and more as a lovable sidekick in its own right.

Acclaimed English actor Benedict Cumberbatch makes for a humorous Stephen Strange, demonstrating impressive range as Strange as he changes from conceited jerk to humble protector. Chiwetel Ejiofor makes for a well-rounded foil to Strange as his stubbornly rigid recruiter-turned-companion Mordo. Bringing an otherworldly vibe to the role of the Ancient One, Tilda Swinton turns in another wonderfully odd performance in a long line of wonderfully odd performances. Character actor Mads Mikkelsen does a fine job as antagonist Kaecilius, a misguided zealot that strayed from the Ancient One's teachings, surprisingly funny in his interactions with Strange and bringing precious pathos to a noticeably-underwritten part.

Rachel McAdams plays ER surgeon and Strange's on-again-off-again girlfriend Christine Palmer in a relatively thankless role. Benedict Wong lends his comedic talents as Wong, primarily filling the role of the no-nonsense straight man to Strange's failed attempts at humor. The supporting cast also features Benjamin Bratt as Jonathan Pangborn - a former paraplegic who directs Strange to Kamar-Taj, Michael Stuhlbarg as Strange's rival surgeon Nicodemus West, and martial arts star Scott Adkins as Lucian - a follower of Kaecilius who engages Strange in a thrilling fight on the Astral Plane.

Doctor Strange is a prime example of Marvel Studios films at their best. Iconic comic book characters are lovingly introduced to movie-going audiences while the narrative builds several new levels on top of a well-established cinematic universe to the delight of fans who are keeping track. Dr. Stephen Strange is a worthy addition to Marvel Studios' pantheon of heroes. 


MID-CREDITS STINGER
Dir. Taika Waititi
Strange converses with Thor (Chris Hemsworth) in the New York Sanctum. Thor is in New York City with Loki in search of Odin, and promises to return to Asgard as soon as he is found. Strange offers him assistance. The full version of this scene is featured in Thor: Ragnarok.


POST-CREDITS STINGER
Mordo, disillusioned with the practice of sorcery, visits Pangborn and takes away his magic, declaring that the problem with the world is "too many sorcerers."


STAN LEE CAMEO
Dir. James Gunn
Stan the Man is a man on a bus reading Aldous Huxley's The Doors of Perception


FRAGMENTS
- The film features the debut of a new Marvel Studios logo with accompanying musical fanfare by composer Michael Giacchino

- Benedict Cumberbatch and Chiwetel Ejiofor previously appeared together in 12 Years a Slave

- Chiwetel Ejiofor and Benedict Wong previously appeared together in The Martian

- After Strange defeats Dormammu using the Eye of Agamotto, Wong reveals that the artifact is an Infinity Stone (along with the Tesseract last seen in The Avengers, the Aether in Thor: Dark World, the Orb in Guardians of the Galaxy, and the Mind Stone that powers Vision in Avengers: Age of Ultron and Captain America: Civil War)

- In reference to Doctor Strange's origin story, this disclaimer appears at the tail end of the closing credits:
"Driving while distracted can be hazardous to you and others on the road. Please drive responsibly."


SUPPLEMENTAL STUFF
Video: Jimmy Kimmel Hires Dr. Strange


007 CONNECTIONS
- Mads Mikkelsen (Le Chiffre in Casino Royale)

Phantasm: Ravager

PHANTASM: RAVAGER
2016 | Dir. David Hartman | 87 Minutes

"You're not even real. You are my bad dream."

Hunted by the evil supernatural undertaker known as the Tall Man, aging every man-turned-action-hero Reggie reaches the end of the search for his lost friends. While the Tall Man's control over Reggie's world strengthens, Reggie's sense of reality fractures.

Directed by veteran animator David Hartman, Phantasm: Ravager perfectly exemplifies everything appealing about Don Coscarelli's resourcefully independent and highly imaginative horror film series. Centered squarely on Reggie's quest to find Mike and Jody, the movie introduces several wrinkles to the series' plot, blowing it wide open for interpretation. Reggie is simultaneously a wandering hero, a dying mental patient, and an exhausted warrior in a post-apocalyptic hellscape. By design, the true nature of Reggie’s reality is never made clear but emotionally, every single one is valid. As the heart of the Phantasm series, Reggie must come to terms with his own mortality, and he ultimately refuses to bargain with the Tall Man, the very embodiment of death, providing a fitting end to his journey.

Dreamlike in structure and clearly produced on a small budget, the visual effects of the movie look relatively cheap but are incredibly ambitious in scope. There is more silver sphere action in this film than in all previous Phantasm movies combined, with several people (and even a horse!) on the receiving end of the grisly drill-and-drain treatment. The film introduces a new spikey kamikaze exploding red sphere and giant-sized spheres firing city-leveling lasers. While the effects work is far from top-notch, the film's earnestness and entertainment value makes up for what it lacks in presentation.

Reggie Bannister is the undisputed star of this entry of the series, doing a fabulous job carrying the film with equal parts humor and pathos. A. Michael Baldwin returns as Mike, appearing all-too-briefly as emotional motivation and support for Reggie no matter in every reality he cycles through. After decades of acting against each other, there is real tangible affection between the two actors and it shows on screen. Angus Scrimm appears for the final time as the Tall Man, flashing his signature raised eyebrow and sharing several great scenes with Reggie. The film also features the return of Kat Lester as the Lady in Lavender, last appearing in the role in the original Phantasm, looking lovely as ever and positively terrifying. Series newcomers Dawn Cody and Stephen Jutras are fun additions, Cody as the target of Reggie's futile attempts at romance, and Jutras as a fierce warrior of small stature called Chunk. Featured in one extended action scene, character actor Daniel Roebuck meets a bloody end fighting a silver sphere with Reggie in a barn. Series regular Bill Thornbury appears as Jody in what ultimately amounts to a painfully brief cameo appearance towards the end of the film.

Exploring themes of death, mortality, loyalty, and enduring friendship Phantasm: Ravager is a bumpy but highly entertaining head-scratcher, very much like the first Phantasm film. More discerning audiences may be turned off by its low budget special effects and disorienting plot, but series fans ought to find much to love about this one, especially those who adore the character of Reggie.


MID-CREDITS STINGER
Badly injured from his attack on the Tall Man, Chunk emerges from a portal in the desert and is saved by Rocky (Gloria Lynne Henry reprising her Phantasm III role). The pair are picked up by Reggie and company in Jody's Hemi Cuda. Together, they ride towards a devastated city with giant spheres hovering over it.



FRAGMENTS
- The film is dedicated to the memory of Angus Scrimm who passed away nine months before the movie was released

- The closing credits feature a montage of action scenes consisting mostly of clips not featured in the movie's narrative

- At the tail end of the closing credits reads these legal disclaimers:
"The characters, places and incidents portrayed herein are entirely fictitious and similarity to any real places or people, living, dead or undead is purely coincidental. This motion picture photoplay is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unauthorized duplication, copying, distribution, exhibition, or any other use of any kind may result in civil liability, and/or criminal prosecution and the enduring wrath of the Tall Man."

- The tail end of the credits also features a thank you message to Phantasm "phans"

Phantasm IV: Oblivion

PHANTASM IV: OBLIVION
1998 | Dir. Don Coscarelli | 90 Minutes

"Where do you think you're going, boy? Death is no escape from me."

Mike travels alone to Death Valley seeking answers to the mysteries behind his supernatural connection to the Tall Man and Jody's unexplained reappearance. Stepping through a dimensional fork in the desert, Mike discovers the origin of his nemesis dates back to the American Civil War. Meanwhile, Reggie follows close behind, doing his best to protect Mike from forces unknown.

A frustrating experience even for Phantasm series fans, Phantasm IV: Oblivion deepens the central mysteries of the series without providing definitive answers or conclusive resolutions. With considerably less action and humor than previous entries in the series, this sequel hinges on the audience's emotional connection to Mike's journey as a character with mixed results. Mike's trips to the past through the dimensional forks are revelatory but his conflict with Jody falls disappointingly flat and unfortunately, Reggie's adventures are sidelined for most of the film.

The film cleverly repurposes unused footage shot for the original Phantasm to serve as fractured memories and alternate scenarios playing out in Mike's mind. When these flashback sequences work, they are gratifying for fans of the series, offering a glimpse into bits of Mike, Reggie, and Jody's lives that were previously unseen. However, the sequences that don't add much to the plot only serve to pad out the movie's running time.

The practical makeup effects and stunt work is top-notch, though the number of special effects gags is considerably lower than in previous Phantasm movies. The makeshift sphere Mike builds out of car parts to serve as a diversion during his final confrontation with the Tall Man and an intense sequence early in the film featuring a demonic lawman played by stunt coordinator and frequent Don Coscarelli collaborator Bob Ivy are real highlights of the film.

Principal cast members A. Michael Baldwin, Reggie Bannister, and Bill Thornbury return as Mike, Reggie, and Jody. Baldwin does most of the dramatic heavy lifting acting against Angus Scrimm and Thornbury, doing considerably well considering the ambiguous nature of the script. Reduced screen time aside, Bannister is once again the heart of the movie and of the Phantasm series as a whole. Angus Scrimm is allowed to demonstrate more range than in previous Phantasm films, this time playing both the Tall Man and his affable nineteenth century counterpart Jebediah Morningside. The film also features Heidi Marnhout in a brief role as a pretty blonde woman that entices Reggie, naturally revealed to be one of the Tall Man's monsters in disguise with silver spheres for breasts.

Phantasm IV: Oblivion is unarguably the weakest entry in the series but it's not without its charms. The film is emotionally earnest, a showcase of resourceful and imaginative filmmaking, and true to the series' indie roots. The worst thing about the picture is its refusal to address pre-existing mysteries introduced in previous Phantasm movies in a satisfying way.


FRAGMENTS
- Produced on a shoestring budget, and released straight-to-video, the majority of the film's new footage was shot on location in Death Valley

- The film's Special Effects Makeup Coordinator, Gigi Porter, married series star Reggie Bannister in 2001

- Jennifer Bross, A. Michael Baldwin's wife, turned down the role of Jennifer but provides the voice of the cackling fortuneteller

- Screenwriter Roger Avary, who wrote an unproduced highly ambitious screenplay for a climatic fourth Phantasm film, makes a cameo appearance as a Civil War soldier

- Director Don Coscarelli's son, Andy, also appears as a Civil War soldier

- The ending theme song "Have You Seen It?" was written and performed by Reggie Bannister featuring the Phantasm motif composed by Fred Myrow and Malcolm Seagrave

- Identical to Phantasm III: Lord of the Dead, at the tail end of the film's closing credits reads these legal disclaimers:
"The characters and events depicted in this photoplay are fictitious. Any similarity to actual persons, living, dead, or undead, is purely coincidental. This motion picture is protected under the laws of the United States and other countries. Unauthorized duplication, distribution, or exhibition may result in civil liability, criminal prosecution and the wrath of the Tall Man."

Phantasm III: Lord of the Dead

PHANTASM III: LORD OF THE DEAD
1994 | Dir. Don Coscarelli | 91 Minutes

"Seeing is easy. Understanding, well... takes a little more time."

Seconds after his apparent destruction in Phantasm II, a duplicate of the Tall Man enters the world through a dimensional fork, kills Liz, and injures Mike. After a puzzling encounter with Jody, Mike's presumed dead brother - now a sentient silver sphere, Mike is abducted by the Tall Man. Guided by the Jody-Sphere, Reggie embarks on a perilous journey to rescue his friend. On the road, Reg is joined by crack shot kid with pistol Tim and nunchuk-swinging combat expert Rocky, warriors with personal vendettas against the Tall Man.

Phantasm III: Lord of the Dead blends the surreal supernatural elements of the first Phantasm film with the gory high-adrenaline action and production value of the second film. Reggie's adventure with Tim and Rocky in tow is solid entertainment, showcasing series mastermind Don Coscarelli’s talent for mixing horror, action, and comedy. Running parallel, Mike's metaphysical storyline builds heavily upon the series' mythology, providing intriguing exposition that introduces more new mysteries than explanations. A major plot revelation explains that each of iconic metal spheres contains the brain of one of the Tall Man's enslaved undead victims. Briefly hinted upon in the original Phantasm, the heroes exploit the Tall Man's weakness to low temperatures. During its final minutes, the picture reveals a supernatural connection between Mike and the Tall Man, putting into question Mike's ultimate role in the film series.

For his third appearance in the Phantasm series, Reggie Bannister takes center stage portraying his alter ego, Reggie the ice-cream-man-turned-horror-action-hero, carrying the film with a natural and humorous performance. Replaced by James Le Gros in Phantasm II, A. Michael Baldwin makes a welcome return as Mike disappearing for roughly half the film. Child actor Kevin Connors turns in a fun performance as Tim, most notable in the sequence that introduces character that plays like a dark R-rated take on Home Alone. Gloria Lynne Henry is convincingly fierce as Rocky, hilarious in scenes that play up Reggie's lustiness. Angus Scrimm once commands a dominating presence fully embodying the evil Tall Man. Absent from Phantasm II, Bill Thornbury reprises the role of Jody in brief, enigmatic capacity. The film also features Cindy Ambuehl, Brooks Gardner, and John Davis Chandler as Edna, Rufus, and Henry - comically campy as trashy looters who are converted into a new set of zombified henchmen for the Tall Man, nasty and menacing during the knock-down drag-out fight in the gothic mausoleum during the film's finale.

Phantasm III: Lord of the Dead is a fine sequel that heightens every aspect of what made the original Phantasm such a fun ride, including the inscrutability of the series' narrative, driving the plot deeper into a strange but undeniably intriguing direction. Action-packed and operating mostly on dream logic, it exemplifies everything that makes the film series appealing to Phantasm fans and understandably frustrating for viewers who prefer straight-forward storytelling.


FRAGMENTS
- Released straight-to-video and produced without financial support from a major film studio, director Don Coscarelli had more creative control over this film than Phantasm II

- Most of the film's musical score is recycled from Phantasm II featuring a synthesizer-heavy rendition of Fred Myrow’s memorable Phantasm motif by Myrow and Christopher L. Stone

- In the hospital sequence at the start of the film, Angus Scrimm plays the doctor, Kathy Lester (who played the Lady in Lavender in Phantasm) plays the nurse, and Jennifer Bross - A. Michael Baldwin's wife - appears as the nurse behind the desk wearing a walkman

- Two of Don Coscarelli's children appear in the orphanage scene

- At the tail end of the film's closing credits reads these legal disclaimers:
"The characters and events depicted in this photoplay are fictitious. Any similarity to actual persons, living, dead, or undead, is purely coincidental. This motion picture is protected under the laws of the United States and other countries. Unauthorized duplication, distribution, or exhibition may result in civil liability, criminal prosecution and the wrath of the Tall Man."

Phantasm II

PHANTASM II
1988 | Dir. Don Coscarelli | 97 Minutes

"Small towns are like people. Some grow old and die a natural death. Some get murdered."

Seven years after their first battle with the Tall Man, Mike and Reggie hit the road in pursuit of the monstrous mortician and his minions. Heading northwest, the duo venture through numerous dead towns left behind in their enemy's trail. Liz, a childhood friend of Mike with whom she shares a psychic bond, reunites with Mike after her family falls victim to the supernatural threat. Accompanied by a mysterious hitchhiker named Alchemy, the heroes attempt to destroy the Tall Man once and for all.

Though it boasts a considerably larger budget than its predecessor, with financial backing from Universal Pictures, Phantasm II is an entertaining horror action road picture that is unfortunately compromised by studio involvement. The ethereal quality of the original film is largely absent, and though some viewers may prefer the rather conventional straightforward storyline of this picture - playing almost like a remix of the iconic visuals of the first movie with higher production value (even Fred Myrow's musical score featuring the signature Phantasm motif is considerably beefed-up) - the sequel is less psychologically interesting, trading in subtext for flamethrowers, chainsaws, modified four-barrel shotguns, and thrills that look more-polished but feel cheaper.

Despite its drawbacks, the film is not without its share of creative moments. Notable sequences include an encounter with a decoy Liz with the Tall Man's face growing out of her back, a chainsaw duel between Reggie and a psycho in a gas mask, a longer glimpse into the nightmarish hellscape beyond the dimensional fork featuring an oozy dwarf that spilled out of its canister, and the Tall Man disintegrating after our heroes pump him full of hydrochloric acid.

The deadly spheres from the first film make a gruesome return with new features. Most memorably, Phantasm II introduces the golden sphere, armed with a deadly laser beam and rotating blades capable of busting through doors and tunneling through flesh. Point-of-view shots from the perspective of the spheres as they pursue their prey bring a new level of intensity to the mausoleum chase scenes.

James Le Gros does a serviceable, if somewhat dull, job as Mike; his performance never quite capturing the same vibe as A. Michael Baldwin from the first film. Paula Irvine takes on an equally thankless role as Liz, spending most of the movie in peril and doing little else to forward the plot, not much to work with for any actress. Reggie Bannister is truly the co-lead of this picture and the movie is all the better for it. Turns out the character of Reggie is a bit of a horndog, allowing for comedic situations in which Bannister excels, especially in scenes that pair him with the strange-yet-alluring Alchemy played by model Samantha Phillips. Angus Scrimm returns as the menacing Tall Man, again taking full ownership of the role and of the picture whenever he is on screen. The film also features veteran character actor Kenneth Tigar in a relatively early role as a troubled priest with a drinking problem who meets a grizzly fate when he confronts the Tall Man.

Phantasm II is a leaner, shinier, more expensive sequel that in some ways pales in comparison to the low-budget original. It's entertaining and action-packed, but some of the magic is stripped away owing to major studio demands. It isn't a bad follow-up but it lacks the independent charm and earnestness that made the first film a unique and adventurous experience.


FRAGMENTS
- Director Don Coscarelli was forced by Universal Pictures to choose between keeping only one of the two stars from the first Phantasm film, A. Michael Baldwin as Mike or Reggie Bannister as Reggie (A. Michael Baldwin reprises the role of Mike in all subsequent Phantasm films)

- Other compromises Coscarelli was required by the studio to make include maintaining a linear storyline for the film, eliminating dream sequences from the final cut, and having to create a love interest for Mike

- A bag of ashes in the crematorium scene is labeled "Mr. Sam Raimi, Male 170 lbs., Deliver in brass urn" as a tribute to director Sam Raimi (most famous for directing the Evil Dead film and television series and the Spider-Man film trilogy starring Tobey Maguire), a close friend of Don Coscarelli who frequently visited the set of this film during production

- Special effects makeup master Greg Nicotero, currently best known for his work on the television adaptation of The Walking Dead, was as a member of the makeup team on this film

- At the tail end of the film's closing credits reads this disclaimer regarding film piracy:
"This motion picture is protected under the laws of the United States and other countries. Unauthorized duplication, distribution, or exhibition may result in civil liability, criminal prosecution and the wrath of the Tall Man."


MCU CONNECTIONS
- Kenneth Tigar (Old German Man in The Avengers)

Phantasm

PHANTASM
1979 | Dir. Don Coscarelli | 89 Minutes

"You play a good game, boy. But the game is finished, now you die."

A resourceful teenager named Mike, his adult brother Jody, and their friend Reggie discover that mysterious deaths plaguing their small town are linked to the machinations of an otherworldly funeral director operating out of a labyrinthine mausoleum. Dubbed the Tall Man, the inhuman mortician conspires to enslave the dead. Together, the heroes battle the Tall Man and his supernatural forces but at every turn, reality is not as it appears.

Independently financed and assembled, Don Coscarelli's Phantasm is an astonishingly imaginative and inventive horror film. The plot unapologetically refuses to provide its audience with simple or consistent logic, unfolding in dreamlike fashion. While it may be frustrating for some viewers, unbound by conventional plot structure, Phantasm is free to be as innovative and bizarre as Coscarelli's imagination allows.

Through the perspective of young Mike, Phantasm is thematically centered on the psychological trauma of growing up, facing fear, and coming to terms with the concept of death. The Tall Man, a stand-in for death, occasionally takes the form of a provocative woman in a lavender dress. When the woman entices Jody to follow her to a cemetery, Mike inadvertently interrupts Jody's intimate encounter with her. Despite the supernatural threat of the Tall Man, Mike's greatest fear is that Jody would abandon him. In the picture's closing minutes, it is revealed that Jody had passed away and that Mike was in the care of Reggie the entire time, suggesting for a moment that the horrors Mike experienced throughout the film were a nightmare spawned from his grief.

During the film's most iconic sequence, a flying silver sphere with retractable blades and drill pursues Mike in the halls of the mausoleum, eventually penetrating the head of one of the Tall Man's minions, liquefying and immediately dispelling the contents of his skull. Considering the movie's relatively low budget, the effects work for this sequence alone is virtually seamless and absolutely impressive. Another excellent effects sequence that augments the ambitious and ambiguous storytelling involves a portal to another world that works like a tuning fork.

While its memorable set pieces and visuals bring a unique quality to Phantasm, the picture would not work without its excellent cast. A. Michael Baldwin is a natural and charismatic as the teenage dirt-bike riding lead, maintaining believable chemistry with his co-stars Bill Thornbury as Jody and Reggie Bannister as Reggie. As the physically imposing Tall Man, Angus Scrimm brings a uniquely creepy presence with a resonant sinister voice and unnaturally rigid strut. Though featured briefly, Reggie Bannister nearly steals the show as the affable, comically upbeat ice cream man.

The film features a brilliant musical score by Fred Myrow and Malcolm Seagrave, an excellent blend of equal parts horror and action motifs. Charmingly, Thornbury and Bannister also contribute their musical talent to the movie. In one sequence, Jody and Reggie have an impromptu jam session performing a song written by Thornbury.

The plot may not make much logical sense, but Phantasm plays by its own rules, offering as much meaning as the viewer is willing to attribute to it, and is ultimately a better horror film for it. Unique in execution out of budgetary and technical necessity, but emotionally earnest and artistically ingenious, the feature stands apart from other horror features of its time, earning its much-deserved status as a cult classic.


FRAGMENTS
- Appropriately, the inspiration for the silver sphere chase in the mausoleum, and the film as a whole, came to director Don Coscarelli in a dream

- Don Coscarelli and Reggie Bannister's parents appear as extras in the funeral scene

- The scene in the fortuneteller's house in which Mike puts his hand in a black box that inflicts pain in a lesson intended to teach him to conquer fear is a direct reference to Frank Herbert's science fiction novel Dune

- The black Hemi Cuda driven by Jody and Mike is featured in every film of the Phantasm series

- A rough cut of the film was over three hours long and a portion of excised footage was repurposed for Phantasm IV: Oblivion

- Director J.J. Abrams is a fan of Phantasm, spearheading a remastered restoration of the film released in 2016 and naming the Star Wars character Captain Phasma after the film

Delusion of a Disordered Mind: Phantasm

"You think that when you die, you go to heaven. You come to us!"

The Tall Man, a monster from an alien world posing as a gaunt undertaker, leaves a trail of destruction hidden in plain sight. Destroying one small town after another, he converts the bodies of his victims into an army of dwarflike undead slaves and uses their brains to power a legion of floating metal spheres - relentless high-tech killing machines. Everyday heroes Mike, Jody, and Reggie battle the Tall Man but their reality is never as it seems.

Drawing inspiration from the Ray Bradbury novel Something Wicked This Way Comes, American filmmaker Don Coscarelli's 1979 horror film Phantasm is an seminal work of independent cinema - low on budget but high on ingenuity, entertainment, and emotional content. Shot on weekends working off a loose and constantly evolving script, the film operates on dreamlike logic, trading in plot coherence for creative freedom of the macabre.

With fleeting major film studio involvement and fluctuating production budgets, four sequels were released on a highly irregular schedule over nearly four decades, retaining the surreal quality of the 1979 original in varying degrees. The Phantasm series is imbued with Coscarelli's earnest spirit, adventurous sensibilities, and appreciation for the weird, exemplifying the challenges and often overlooked benefits of indie filmmaking.

Finding Dory

FINDING DORY 
2016 | Dir. Andrew Stanton | 103 Minutes

"Just keep swimming."

 

A blue tang with chronic short-term memory loss named Dory is separated from her parents. After befriending Marlin the clownfish and traversing the ocean to rescue Marlin's son Nemo, Dory suddenly remembers to continue her initial journey to find her family. With help from Marin and Nemo, Dory pieces together her scattered memories to locate her parents, ultimately leading her to the Marine Life Institute in California where she rediscovers traces of her past life.

Finding Dory is a natural sequel that is centered on one of Pixar's most beloved characters. While completely suitable for younger audiences, the picture is sophisticated in that it does not feature a central antagonist. The dramatic conflict of the story stems from Dory's disability, played mostly for laughs in Finding Nemo, but utilized for incredible emotional impact this time around, especially in conjunction with flashbacks featuring Baby Dory that are heartwarming and heartbreaking at the turn of a dime.

While Marlin and Nemo are featured in the film, their role in the story is relatively minor. The real heart of the film is in the friendship that develops between Dory and Hank, a curmudgeon of an octopus that's missing a tentacle. At first, Hank wants nothing more than to be sent away from the Marine Life Institute to have his own glass tank at an aquarium in Cleveland, but Dory's positive attitude inevitably brings out the best in him.

The cast is filled to the brim with comedy talent headlined by Ellen DeGeneres returning as Dory, Albert Brooks reprising the role of Marlin, Hayden Rolence as Nemo, and Ed O'Neill as the lovably grumpy Hank. The supporting cast features Kaitlin Olson as Dory's childhood whale shark friend Destiny whose eyesight is severely impaired, Ty Burrell as an insecure beluga whale, Diane Keaton and Eugene Levy as Dory's sweet parents Jenny and Charlie, and Sigourney Weaver as herself can be heard announcing the mission of the Marine Life Institute over their PA system.

Charming, funny and, at times, profoundly moving, Finding Dory is a beautifully rendered picture. Pixar Animation Studios once again pushes all the right emotional buttons, demonstrating why they're still the best at what they do.


POST CREDITS STINGER
Sea lions Fluke and Rudder shoo Gerald off their rock once again as Gill (Willem Dafoe) and the rest of his gang from Finding Nemo, still in plastic bags, find themselves at the Marine Life Institute and are immediately collected by institute staff


JOHN RATZENBERGER AS...
- Bill the crab


A113
- The license plate on the truck during the finale reads CA113


PIXAR INTERCONNECTIVITY
- A poster featuring the lead sandpiper from the short film Piper and a magnet featuring Uku the volcano from the short film Lava is visible in the Marine Life Institute's quarantine area


FRAGMENTS
- Saturday Night Live stars Bill Hader and Kate McKinnon play the bickering couple that encounters Baby Dory

- Director Andrew Stanton reprises the role of Crush the sea turtle from the previous film

- Idris Elba and Dominic West, who appeared together in lead roles on opposing sides of the law on The Wire, play sea lion buddies Fluke and Rudder

- A picture of Darla from Finding Nemo can be seen in the background in the Marine Life Institute's quarantine area

- Alexander Gould, the original voice of Nemo in Finding Nemo, plays a small part as the truck driver in the finale


MCU CONNECTIONS
- Ty Burrell (Leonard Samson in The Incredible Hulk)

- Idris Elba (Heimdall in Thor, Thor: The Dark World, Avengers: Age of Ultron, Thor: Ragnarok, Avengers: Infinity War, and Thor: Love and Thunder)

- Willem Dafoe (Norman Osborn in Spider-Man: No Way Home)

Captain America: Civil War

CAPTAIN AMERICA: CIVIL WAR
2016 | Dir. Anthony and Joe Russo | 147 Minutes

"Compromise where you can. And where you can't, don't. Even if everyone is telling you that something wrong is something right, even if the whole world is telling you to move. It is your duty to plant yourself like a tree, look them in the eye and say, 'No. You move.'"

Under scrutiny for the various catastrophic incidents since the formation of the Avengers, the team must submit to oversight under the United Nations or face prosecution as vigilantes. Tony Stark, primarily driven by guilt over their actions, agrees to regulation by the world's governments but Steve Rogers, distrustful of the shifting political agendas, refuses to submit. A terrorist attack, apparently perpetrated by Rogers' estranged friend Bucky Barnes, further escalates tensions among the Avengers. Rogers sides with Barnes and learns of a potential threat to the world hidden in Siberia. Meanwhile, Stark is tasked by the UN to capture Rogers and his compatriots. Rogers and Stark race to recruit allies to their respective causes, inevitably leading to a massive confrontation pitting hero against hero.

After twelve films over eight years, Marvel Studios presents their most ambitious picture to date and it's one of their very best. Directors Anthony and Joe Russo craft a compelling and action-packed story, impressively juggling several storylines with nearly twenty key characters. Rewarding to fans of Marvel Cinematic Universe, but perhaps confounding to the uninitiated, Captain America: Civil War is intrinsically character-driven - its central conflict of stems from the opposing viewpoints of Steve Rogers and Tony Stark previously established in The Avengers and Avengers: Age of Ultron, while the heroes' motivations builds upon previous Iron Man and Captain America films. Beneath the entertaining veneer of clever quips and super-powered action, the thematic focal points of the film center on the conflict between personal freedom and federal regulation, and the destructive nature of personal vengeance. The picture offers no easy definitive answers and by its final reel, the bond between the Avengers is permanently damaged.

The film features five major thrilling action sequences that escalate in scale and emotional heft. The opening action sequence set in Lagos, Nigeria shows the Avengers at both their best as a team and at their most fallible as human beings. A close-quarters battle that pits Rogers and Barnes against a swat team that leads to the introduction of a fierce new hero with a vendetta and an intense chase through a tunnel in Bucharest offers a small taste of the scale to come in the film's penultimate act. A triggered Winter Soldier on the run brings an outmatched Sharon Carter and an under-dressed Tony Stark in on the action, culminating in an impossible helicopter-grounding only Steve Rogers could pull off. The centerpiece of the film, a battle sequence at Leipzig/Halle Airport featuring twelve heroes showcasing all of their talents is worth the price of admission alone. The final battle pitting Stark against Rogers and Barnes in an underground Siberian bunker is both physically and emotionally devastating.

Both Chris Evans and Robert Downey Jr. give their best Marvel Studios performances to date in this film, Evans portraying Steve Rogers/Captain America's stoic determination both shaken and strengthened by personal tragedies running in direct contrast to Downey Jr.'s portrayal of Tony Stark/Iron Man's guilt and intense anger barely concealed by his wisecracking billionaire persona. Anthony Mackie reprises the role of Rogers' trusted friend Sam Wilson/Falcon on the run with tortured former Hydra assassin Bucky Barnes/Winter Soldier once again played by Sebastian Stan. The surprising comedic character beats shared by Wilson and Stan steals the movie for a couple moments. Don Cheadle once again plays Stark's own loyal friend James Rhodes/War Machine, a welcome presence in more dramatic and action scenes than previous MCU films to date. Scarlett Johansson continues to be captivating in her fifth appearance as Natasha Romanoff/Black Widow, perhaps the most morally conflicted hero in the group despite siding with Stark at the start of the conflict. Elizabeth Olsen returns as Wanda Maximoff/Scarlet Witch sharing several touching scenes with Paul Bettany as Vision, Maximoff racked by guilt over her inability to contain an explosion from a mercenary attack at the top of the film while Vision does his best to comfort her despite his limited but improving understanding of humanity.

Other returning MCU cast members include Jeremy Renner as Clint Barton/Hawkeye - who noticeably turns up Barton's world-weariness of this outing, Paul Rudd's absolutely hysterical Scott Lang/Ant-Man - making his debut among the Avengers with a few impressive and hilarious tricks up his sleeve, Frank Grillo as Brock Rumlow - now a terrifying disfigured mercenary known as Crossbones, Emily VanCamp as Sharon Carter - now a CIA operative who further develops as a romantic interest for Rogers, William Hurt reprising his role as Thaddeus Ross from The Incredible Hulk - since promoted to Secretary of State, Kerry Condon as the ever-sassy Irish voice of Tony Stark's operating system FRIDAY, and John Slattery briefly appearing as Howard Stark joined this time by Hope Davis as his wife Maria.

The film also succeeds in fully introducing two new heroes to the MCU: a new but familiar take on Spider-Man and the first live-action portrayal of Black Panther. Skewing younger than previous film versions of the character, Peter Parker is played by Tom Holland, sharing a fun on-screen dynamic with Downey Jr.'s Stark, and joined by Marissa Tomei as an adorable "unusually attractive" Aunt May. Holland's Peter Parker/Spider-Man is only in two sequences but his charisma in the role in undeniable, setting the bar high for Holland's first solo Spider-Man film. Chadwick Boseman's T'Challa of Wakanda is brought to life impeccably as a dramatic foil to both Stark and Zemo, the film's diabolical hidden conspirator. Boseman naturally belongs on the same playing field as the previously established Avengers, both a physical powerhouse and an incredible dramatic talent, and this picture does a fine job of providing the audience with a significant piece of T'Challa's origin story ahead of Boseman's Black Panther film.

One of the weaknesses shared by the majority of MCU films is the lack of a strong, captivating villain. While not a supervillain in the traditional sense, Daniel Brühl plays Helmut Zemo, a man seeking vengeance against a collective of petulant super-powered individuals with an elaborate but clever scheme. Brühl instills Zemo's journey with real pathos, haunted by loss and consumed by vengeance. The film also features Alfre Woodard as a grieving mother who confronts Stark - powerfully elevating the emotional bar at the start of the film with just one powerful scene, John Kani as the T'Challa's father and King of Wakanda T'Chaka, and English character actor Martin Freeman as Everett K. Ross - an amusingly ineffectual officer of the Joint Counter Terrorism Center.

It probably won't make much sense to the uninitiated but Captain America: Civil War masterfully resolves plot threads established in Captain America: The Winter Soldier and Avengers: Age of Ultron while it organically introduces T'Challa and Peter Parker to the MCU. It features solid character arcs for all twelve heroes, often leading to some truly inspired action that speaks louder than words. It's a miracle this movie works as well as it does - not unlike the first Avengers film but with even more moving pieces.


MID-CREDITS STINGER
Bucky agrees to be cryogenically frozen until a way is developed to undo Hydra's psychological programming still present in his mind. Steve Rogers fears for his safety but T'Challa assures him that Bucky will be safe in Wakanda.


POST-CREDITS STINGER
Nursing his injuries from the battle in Berlin, back in his room in Queens, Peter Parker discovers Tony Stark gifted him with a sophisticated computer system hidden in his new web-shooters.


STAN LEE CAMEO
Stan the Man plays a FedEx delivery man with a package for Tony "Stank"


FRAGMENTS
- Damion Poitier, who plays the mercenary threatening to drop the vial containing the virus during the opening Lagos action sequence, previously appeared as Thanos in The Avengers before Josh Brolin was cast in the role

- Writer and comedic actor Jim Rash, perhaps best known as Dean Pelton on Dan Harmon's Community, is featured in a cameo as a similarly eccentric MIT faculty member

- Alfre Woodard also appears on the Marvel Netflix show Luke Cage as Mariah Dillard

- Co-director Joe Russo appears briefly as the real Dr. Theo Broussard, murdered and impersonated by Zemo

Spotlight

SPOTLIGHT
2015 | Dir. Tom McCarthy | 129 Minutes

"If it takes a village to raise a child, it takes a village to abuse one."

In 2001, under the direction of new editor Marty Baron, the Boston Globe's Spotlight investigative reporting team follows up on a child abuse case involving local clergy. The investigation quickly unravels well-organized and far-reaching workings perpetrated by leadership within the Catholic Church to allow, and subsequently cover up, thousands upon thousands of child sex abuse crimes committed by priests primarily targeting children from underprivileged neighborhoods and broken homes.

Spotlight is a sobering dramatization of the real life heroic investigative journalism by Boston Globe reporters that blew the lid off of one of the most shameful global conspiracies hidden in plain sight. Between the church's refusal to cooperate, the reluctant testimony of damaged abuse survivors, and a considerable amount of legal red tape, the Spotlight Team goes to great lengths to uncover the truth behind the labyrinthine scandal. While the reporters are first and foremost presented as courageous heroes, the film doesn't shy away from displaying their fallibility, placing a fair amount of emphasis on the consequences of prolonged inaction, revealing late in the picture that the Boston Globe had received reports of sexual abuse incidents for years but had done nothing about it. The film also calls into question the strategic timing of how and when the press releases information.

Michael Keaton plays Walter Robinson, the leader of the Spotlight Team, bringing a fair amount of humor and dignity to the role. Mark Ruffalo does what he does best as mild-mannered writer Michael Rezendes, a dedicated worker becoming gradually more enraged as the team delves deeper into the investigation. Rounding out the Spotlight Team are Rachel McAdams as Sacha Pfeiffer, a Midwestern transplant with a churchgoing Bostonian grandmother, and Brian d'Arcy James as Matt Carroll, who turns out to live literally down the street from a group of alleged child-abusing clergymen. In minor but notable roles are Liev Schreiber as Marty Baron, and John Slattery as Editor Ben Bradlee Jr., with Billy Crudup turning up the smarm as smug attorney Eric MacLeish, and Stanley Tucci nearly stealing the film outspoken lawyer Mitchell Garabedian. In an uncredited performance, character actor Richard Jenkins lends his voice as Richard Sipe, a sociologist and former priest who wrote about sexual abuse within the Catholic Church, a valuable resource for the Spotlight Team.

Spotlight is an exemplary film, honest in its portrayal of a deeply troubling issue, and compelling in nearly every minute of its running time. With a fantastic ensemble cast working with a rock solid screenplay that was once on the 2013 Blacklist*, it is one of the best pictures of 2015.

*The Black List is an annual survey of the most-liked Hollywood movie scripts not yet produced. 


FRAGMENTS
- The credits and title cards throughout the film are in Miller typeface, the same typeface used by the Boston Globe for headlines and copy


MCU CONNECTIONS
- John Slattery (Howard Stark in Iron Man 2, Ant-Man, Captain America: Civil War, and Avengers: Endgame)

- Stanley Tucci (Abraham Erskine in Captain America: The First Avenger)

- Mark Ruffalo (Bruce Banner in The Avengers, Iron Man 3, Avengers: Age of Ultron, Thor: Ragnarok, Avengers: Infinity War, Captain Marvel, Avengers: Endgame, and Shang-Chi and the Legend of the Ten Rings)

- Rachel McAdams (Christine Palmer in Doctor Strange and Doctor Strange in the Multiverse of Madness)

- Michael Keaton (Adrian Toomes in Spider-Man: Homecoming)

Room

ROOM 
2015 | Dir. Lenny Abrahamson | 117 Minutes

"Can my strong be her strong too?"

 
A boy named Jack turns five and his entire universe is in a space he and his mother call "Room." Jack's mother decides that Jack is old enough to know that truth of their situation, that she was abducted by the man they refer to as "Old Nick" and locked in Room before Jack was born. She plots their escape so that Jack may set foot in the world outside Room.

Lenny Abrahamson's Room is a gem of a film that is both harrowing and incredibly touching. Adapted for the screen by Emma Donoghue from her novel, the narrative unfolds from Jack's innocent perspective and up to a certain point, only Jack's mother and the audience are clued in on the true horror of the profoundly awful situation. The film shifts gears and, albeit in a different mode, continues to be compelling at the halfway point after a tense and exciting escape sequence, focusing on Jack's mother struggle to re-enter the outside world while Jack learns to interact with other people for the first time. Abrahamson's direction is commendable, as Room is expertly paced and, at times, visually uplifting.

The film is driven by excellent performances from Brie Larson as Jack's mother, Joy, and child actor Jacob Tremblay as Jack. Larson provides phenomenal range, displaying a captivating combination of deep strength and vulnerability. Tremblay is a brilliant and adorable young performer, capably carrying the narrative. Sean Bridgers is appropriately despicable as Old Nick. Bringing warmth to the second half of the film, Joan Allen and Tom McCamus appear in the second half of the film as Jack's grandmother and her husband Leo. Acclaimed actor William H. Macy has a small part as Jack's distant, unaccepting grandfather.

Room is an exploration of the perseverance of real love and the boundless potential of a young mind that must never be confined. While the film may be centered on a heinous crime, it effectively demonstrates how the human spirit may endure.


MCU CONNECTIONS
- Brie Larson (Carol Danvers in Captain Marvel, Avengers: Endgame, Shang-Chi and the Legend of the Ten Rings, and The Marvels)

The Revenant

THE REVENANT
2015 | Dir. Alejandro G. Iñárritu | 156 Minutes

"I ain't afraid to die anymore. I'd done it already."

In 1823, while on the run from hostile natives, fur trapping expedition navigator Hugh Glass is mauled by a grizzly bear. Believing Glass to be on the brink of death, Glass' half-native son Hawk, and trappers John Fitzgerald and Jim Bridger volunteer to stay behind to tend to Glass. Harboring a grudge against Hawk and Glass, Fitzgerald murders Hawk and tricks Bridger into leaving Glass for dead. Miraculously, Glass survives and crawls across the wilderness to seek vengeance. Meanwhile, the native tribe search for their chief’s missing daughter, believed to be captured by white men.

The Revenant is visually stunning and unflinchingly treacherous. Director Alejandro G. Iñárritu's deliberate exclusive use of natural light accentuates the beauty and the brutality of the wilderness. The film features breathtaking action sequences shot in extended takes, most notably in the film's opening moments, the grizzly bear attack, a chase sequence before the final act, and the climatic confrontation between Glass and Fitzgerald. Iñárritu also brings an ethereal quality to Glass' dream sequences and flashbacks.

Even discounting the physical challenge required of the role, Leonardo DiCaprio's performance as Glass is nuanced and absolutely captivating, fully immersed in the loss and desperation suffered by the character. Tom Hardy also does some of his best work in this film as Glass' pragmatic foil and adversary Fitzgerald, particularly imposing in scenes shared with Will Poulter's Bridger. Domhnall Gleeson appears in a supporting role as Andrew Henry and Forrest Goodluck matches DiCaprio's intensity as Glass' son Hawk.

Although its narrative is rudimentary and thematically ordinary, The Revenant is an undeniable cinematic achievement, presenting the American frontier with impeccable visual fidelity.


FRAGMENTS
- Tom Hardy appears in two nominees for Best Picture in 2015, this film and Mad Max: Fury Road

- In 2015, Domhnall Gleeson appeared in numerous critically-acclaimed and financially successful films including this film, Ex Machina, Brooklyn, and Star Wars: The Force Awakens

MCU CONNECTIONS

- Tom Hardy (Eddie Brock and Venom in Spider-Man: No Way Home)

- Will Poulter (Adam Warlock in Guardians of the Galaxy Vol. 3)

The Martian

THE MARTIAN
2015 | Dir. Ridley Scott | 141 Minutes

"So, in the face of overwhelming odds, I'm left with only one option: I'm going to have to science the shit out of this."

In the near future, astronaut and botanist Mark Whatney is stranded on Mars after he is struck by debris during a dust storm that forced his fellow astronauts to leave the planet. Mark survives by growing his own food on the inhospitable planet. Meanwhile, after establishing contact with Mark, NASA, JPL and Mark's fellow astronauts work with the Chinese space program to bring Mark home.

Based on the novel by Andy Weir, The Martian is an entertaining and suspenseful ride that is full of humor and solid science. Veteran film director Ridley Scott delivers his most crowd-pleasing film yet, with an optimistic bent (and non-existent body count) that is uncommon for Scott. The film presents a situation in which scientists disregard politics and bureaucracy to amicably collaborate and save the life of one of their own. Whatney is written as a resourceful and funny man, retaining hope in a nightmare situation. The comedic beats are enhanced by a diegetic soundtrack featuring disco hits, the only music available to Whatney left behind by his commander on Mars.

The film sports a massive and talented cast lead by Matt Damon as Watney, charmingly humorous and convincingly brilliant. Chiwetel Ejiofor portrays NASA mission director Vincent Kapoor, spending much of the film butting heads with Jeff Daniels playing NASA head Teddy Sanders, a microcosm of humanism against practicality. Jessica Chastain plays Ares III mission commander Melissa Lewis, evoking believable authority and compassion, supported by Michael Peña as pilot Rick Martinez, Kate Mara as geeky system operator Beth Johanssen, Sebastian Stan as the dashing flight surgeon Chris Beck, and Aksel Hennie as navigator Alex Vogel. The cast also features Mackenzie Davis as Mission Control satellite tech Mindy Park, Sean Bean as mission director Mitch Henderson, Benedict Wong as JPL director Bruce Ng, Donald Glover as eccentric JPL astrodynamicist  Rich Purnell, Kristen Wiig as NASA media relations director Annie Montrose, and veteran Chinese actor Eddy Ko as CNSA chief Guo Ming.

The Martian is an uplifting picture with sufficient unique talent and style to set it apart from other astronaut films.


FRAGMENT
- The Project Elrond meeting, in which several characters discuss in secret a way to bring Whatney home, is particularly amusing considering the participation of actor Sean Bean who played Boromir in the Lord of the Rings film trilogy in which he was a participant at the Council of Elrond, Project Elrond’s namesake


MCU CONNECTIONS
- Kate Mara (US Marshall in Iron Man 2)

- Sebastian Stan (Bucky Barnes in Captain America: The First Avenger, Captain America: The Winter Soldier, Ant-Man, Captain America: Civil War, Black Panther, Avengers: Infinity War, and Avengers: Endgame)

- Michael Peña (Luis in Ant-Man and Ant-Man and the Wasp)

- Chiwetel Ejiofor (Karl Mordo in Doctor Strange and Doctor Strange in the Multiverse of Madness)

- Benedict Wong (Wong in Doctor Strange, Avengers: Infinity War, Avengers: Endgame, Shang-Chi and the Legend of the Ten Rings, Spider-Man: No Way Home, and Doctor Strange in the Multiverse of Madness)

- Donald Glover (Aaron Davis in Spider-Man: Homecoming)

- Matt Damon (Asgardian Actor playing Loki in Thor: Ragnarok and Thor: Love and Thunder)

Mad Max: Fury Road

MAD MAX: FURY ROAD
2015 | Dir. George Miller | 120 Minutes

"I thought you weren't insane anymore."

In the distant future, the world is a barren wasteland following a nuclear war. Former lawman Max Rockatansky is abducted by a cult-like army lead by a tyrant called Immortan Joe, used as a source of clean blood for Joe's young radiation afflicted "War Boys." Max finds himself caught in the middle of an extended chase across the wasteland, when Joe discovers that his one-armed lieutenant, Imperator Furiosa, secretly liberated his five "wives" that were held in captivity to breed healthy children, and pursues the women with his army of War Boys and eccentric allies.

Director George Miller triumphantly returns to his signature character 30 years after Mad Max: Beyond Thunderdome with what is essentially a thrilling feature-length chase sequence with a several brief intermissions. Mad Max: Fury Road is a wild visual feast featuring minimal CGI, exceptionally inventive production design, one explosive stunt after another, and an epic thumping soundtrack by electronic artist Tom Holkenborg (Junkie XL). The action is shot and edited with a level of clarity that is rare for a modern action film.

Taking over for Mel Gibson who had played Max from 1979 to 1985, Tom Hardy is the very embodiment of "strong and silent damaged hero." However, in actuality the film belongs to Charlize Theron as Imperator Furiosa. Furiosa literally drives the plot forward at nearly every turn, hands down the character with the most agency in the entire film, and Theron excels in the role. Nicholas Hoult is great fun to watch playing the War-Boy-turned-hero Nux. Though acting through heavy makeup and a restrictive mask, Hugh Keays-Byrne is appropriately menacing as Immortan Joe. Played by Rosie Huntington-Whiteley, Zoë Kravitz, Riley Keough, Abbey Lee, and Courtney Eaton, each of Joe's "wives" have their own respective character arcs that are brief but unique. The supporting cast also notably features character actor Angus Sampson as Joe's medical expert the Organic Mechanic, Josh Helman as the War Boy Slit, and Australian musician iOTA as the instantly-iconic bandaged, flamethrower guitar strumming Doof Warrior

Though light on drama and exposition by design, from start to finish, Mad Max: Fury Road is one of the best action films ever made. Neither a true sequel nor a complete reboot of the Mad Max series, the film is very much its own unique animal.


FRAGMENTS
- Tom Hardy appears in two nominees for Best Picture in 2015, this film and The Revenant

- Hugh Keays-Byrne also played the antagonist Toecutter in the first Mad Max film released in 1979

- Nicholas Hoult and Josh Helman also appear together in X-Men: Days of Future Past and X-Men: Apocalypse as Hank McCoy and William Stryker


SUPPLEMENTAL STUFF
- Video: Conan O'Brien Hits Comic-Con Mad Max-Style

MCU CONNECTIONS

- Tom Hardy (Eddie Brock and Venom in Spider-Man: No Way Home)

- Charlize Theron (Clea in Doctor Strange in the Multiverse of Madness)

Brooklyn

BROOKLYN
2015 | Dir. John Crowley | 112 Minutes

"Homesickness is like most sicknesses. It will pass."

In the early 1950s, Eilis Lacey leaves her small hometown in Ireland for a new life with more opportunities in America. Though initially homesick, Eilis finds new purpose after receiving high marks in night school bookkeeping classes and love in the form of a charming young Italian plumber named Tony. After a sudden family tragedy, Eilis returns to her hometown to find a potential life and suitor should she choose to stay.

Based on a novel by Irish writer Colm Tóibín, Brooklyn is a well-directed, well-acted drama supported with great production design, but it's ultimately a rather ordinary film. While the beginning of the story does a fine job of establishing Eilis, the limitations of her life in Ireland, the world of 1950s Brooklyn, and the heartwarming relationship between her and Tony, the back half of the film undersells the film's central conflict between Eilis' new life and the temptation to permanently return home. Comparing the amount of screen time afforded to Tony played by Emory Cohen against the amount of time spent with Eilis' potential Irish love interest Jim played by Domhnall Gleeson, to the audience there is no question where Eilis' heart belongs and where she ought to stay.

Saoirse Ronan is lovely as Eilis, her performance carrying the entire film. Emory Cohen is suitably charismatic as Tony, complementing Ronan's vulnerability as Eilis with his. Despite receiving second billing, Domhnall Gleeson doesn't have much screen time or much to do as Jim Farrell except to look handsome and try to convince Eilis to stay in Ireland. Veteran English actors Jim Broadbent and Julie Walters respectively play Father Flood as Madge Kehoe, solid performances as reliable mentors to Eilis in her new life abroad. If there is a villain in this film, it is the exaggerated nasty witch of a grocer Miss Kelly, brought to life by Bríd Brennan, who shares a powerful scene with Ronan towards the end of the film.

Despite an admirable performance from its leading lady, Brooklyn lacks dramatic weight and disappointingly loses momentum right at the thick of the plot. Ronan deserves praise for the talent on display in this film but the film didn't fully develop more explore its central conflict during its closing act.


FRAGMENTS
- Screenwriter Nick Hornby is perhaps best known for writing the novel High Fidelity which was adapting into a critically-acclaimed film in 2000 starring John Cusack

- Jessica Paré, best known as Megan on Mad Men, plays Eilis' stern but sympathetic supervisor at her New York department store job

- Emily Bett Rickards, the tech genius Felicity Smoak on Arrow, has a small part as one of women living with Eilis in Kehoe's boarding house

- Julie Walters, Domhnall Gleeson, and Jim Broadbent are have all appeared in the Harry Potter films

- In 2015, Domhnall Gleeson appeared in numerous critically-acclaimed and financially successful films including this film, Ex Machina, Star Wars: The Force Awakens, and The Revenant

Bridge of Spies

BRIDGE OF SPIES
2015 | Dir. Stephen Spielberg | 141 Minutes

"We have to have the conversations our governments can't."

 

In 1957, New York insurance lawyer James B. Donovan is tasked with defending alleged Soviet spy Rudolf Abel in a fair trial. Amidst disdain from the American public and death threats directed at him and his family, Donovan manages to help Abel dodge the death penalty, arguing that Abel may prove to be a valuable bargaining chip with the Soviet Union. When a US Air Force pilot is captured by Soviet troops and an American student is imprisoned in East Berlin, Donovan is called upon to negotiate a hostage exchange in Germany but the deal he has in mind is one that his CIA handlers, the Soviet Union, and East Germany do not expect.

Bridge of Spies is ultimately another successful collaboration between director Steven Spielberg and star Tom Hanks. However, the narrative noticeably loses momentum between Abel's extended trial and Donovan's journey to Berlin. The screenplay, credited to Matt Charman and master filmmakers Joel and Ethan Coen, is sharp and precise but somewhat lacking in style.

The film's biggest strength lies in the human story at its heart. Donovan is portrayed as a straight-laced decent human being demonstrating strong moral fiber and standing by his convictions even while stranded in hostile territory on a mission not of his choosing. The picture is at its most captivating during its second half as the tension steadily builds through Donovan's increasingly contentious dealings with Soviet and East German officials leading up to the historical trade on the Glienicke Bridge. Also during the second half of the film, Spielberg's truly demonstrates his craftsmanship as a director. In a short organically staged sequence, Spielberg shows the construction of the Berlin Wall and the immediate horror experienced by German citizens trapped behind the east side of the wall.

Tom Hanks is the perfect as the relatable and likable everyman though, perhaps appropriately, he turns in one of his most stoic and subdued film performances as Donovan. As Abel, Mark Rylance demonstrates a controlled and confident intelligence, though the best of his performance is mostly confined to the first half of film, most notably in the film's opening moments. Another notable performance is provided by Amy Ryan in a small but vital role as Donovan's weary wife.

While it is a good film based on true history, Bridge of Spies just falls short of being a classic, offering little to set it apart from other espionage films. It isn't one of Spielberg's best, but it is certainly a solid addition to his legendary filmography.


FRAGMENTS
- This is the first Steven Spielberg film not to be scored by regular collaborator John Williams since 1985's The Color Purple

- Francis Gary Powers, the USAF spy plane pilot captured by the Soviets, is played by Austin Stowell who had a small role in 2014's Whiplash as backup drummer Ryan "Johnny Utah" Connolly

- Great to see Jesse Plemons in a minor role as a US Airman


007 CONNECTIONS
- Mikhail Gorevoy (Vladimir Popov in Die Another Day)

The Big Short

THE BIG SHORT
2015 | Dir. Adam McKay | 130 Minutes

"Truth is like poetry. And most people fucking hate poetry."

In 2005, hedge fund manager Michael Burry notices that the US housing market is on the brink of collapse. To the disbelief of his clients and his superiors, Burry approaches several major banks to create credit default swaps, a way for him to bet against the banks for substantial profit when the housing market fails. Serendipitously, the creation of the swap market catches the attention of unscrupulous Deutsche Bank bond salesman Jared Vennet, short-tempered and outspoken hedge fund manager Mark Baum and his team, young fledgling investors Charlie Geller and Jamie Shipley and their reclusive mentor Ben Rickert. As they watch the market fail beginning in 2007, the three groups learn the full extent of the greed and stupidity driving the ones responsible for ruining the economy.

Based on Michael Lewis' non-fiction account of the housing crisis, The Big Short: Inside the Doomsday Machine, Adam McKay's film is immensely entertaining while it brings to light exactly how Wall Street and the US Government wronged the average American homeowner and taxpayer, and how the institutions ultimately tore apart the world economy. The film paints a cynical, bitterly funny picture with ongoing real world problems that have yet to be resolved as of this writing.

With as much style and wit as possible, the film aims to keep its audience engaged and, quite possibly, enraged. Vennett serves as film's often condescending narrator, speaking through the fourth wall directly to the audience. Interludes featuring celebrity guests Margot Robbie, Anthony Bourdain, and Selena Gomez as themselves give the audience a crash course on complex financial concepts using easy-to-understand analogies. In a throwaway show of honesty, other characters occasionally break the fourth wall as well, pointing out minor discrepancies in the narrative, quick to point out how events actually transpired in reality.

The cast is comprised of major talent primarily featuring Christian Bale turning up his eccentricity as Burry, Steve Carell in an amusingly angry and at times heartbreaking performance as Baum, Ryan Gosling being cartoonishly aggressive as Vennett, and John Magaro and Finn Wittrock as young and occasionally naïve Geller and Shipley. In a small but important part, producer Brad Pitt plays Rickert as the blunt voice of reason. The cast also features Hamish Linklater, Rafe Spall, and Jeremy Strong making up Baum's staff at FrontPoint Capital, Marisa Tomei as Baum's weary wife, with Melissa Leo, Byron Mann, and Karen Gillan in brief but memorable roles.

Known for his prowess as a comedic writer and director, The Big Short is McKay is at the very top of his game. The film is a culmination of McKay's work as a filmmaker, skillfully breaking down the reality of a complex financial crisis for mass consumption and maximum cinematic impact.


FRAGMENT
- This is the first Adam McKay film to not feature regular collaborator Will Ferrell


MCU CONNECTIONS
- Karen Gillan (Nebula in Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, Thor: Love and Thunder, and Guardians of the Galaxy Vol. 3)

- Marisa Tomei (May Parker in Captain America: Civil War, Spider-Man: Homecoming, Avengers: Endgame, Spider-Man: Far From Home, and Spider-Man: No Way Home)

- Christian Bale (Gorr in Thor: Love and Thunder)

The 88th Academy Awards

My ranking of the Best Picture Oscar contenders of 2016:

1. The Martian
2. Mad Max: Fury Road
3. The Revenant
4. The Big Short
5. Room
6. Spotlight *
7. Bridge of Spies
8. Brooklyn 

*Actual Winner