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Ulasan Kritikus
Doctor Strange
Scott Derrickson Amerika Serikat, 2016
The best film so far in the wave of Marvel productions that began with Iron Man… Derrickson works in a robust old-school style that owes more to American swashbucklers, Asian action cinema, and Indiana Jones than to the frenetic, cut-and-paste aesthetic of contemporary blockbusters such as Captain America: Civil War. The film is informed with atmosphere and majesty, as well as a sense that Derrickson gives a damn about what he’s doing. The Marvel ecosystem has turned him into a classicist.
March 02, 2017
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How could Marvel have anticipated that Doctor Strange would so powerfully speak to the cultural moment of its release? It wasn’t magic: Trump’s electoral victory is just one unimaginable occurrence within an era of already unfolding, inconceivable traumas. The film captures a deep yearning for meaningful agency in the face of tragic belatedness.
November 19, 2016
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It suffers from the usual flaws that plague origin stories, Marvel ones especially. You know pretty much every beat that has to happen, and of course they all happen, in more or less the order that you expected… Still, it’s so consistently entertaining, and demonstrates such thorough mastery of pacing, special effects and tone, that it very nearly drowns objections beneath waves of deadpan humor and glorious psychedelic imagery.
November 08, 2016
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It’s a pretty OK lightshow. The storytelling basics are beyond tedious: there’s a moment where, in the middle of an extended training montage, Strange takes a moment to write an email to his on/off girlfriend. Why, I wondered, before figuring out the answer: to remind us she exists so that he can apologize to her later for prior selfishness, thereby confirming Strange’s moral arc. It can make you stamp your feet in impatience, but the big showcases are regularly spaced and quite fun.
November 07, 2016
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Gone is the Marvel televisual house-style, replaced by Derrickson’s low-light aesthetic, put to creepy use in Sinister and otherworldly use here. Doctor Strange is the first truly cinematic Marvel film. It’s a shame that Derrickson’s Sorcerer Supreme is contractually obligated to cross over into the worlds of the antecedent Avengers.
November 04, 2016
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If I were an activist looking for a meme to mock the denial of free expression in China, I’d have found a potent one in “Doctor Strange”—a shot of Wong putting a book in chains and hoisting it onto a high shelf, out of reach. I don’t at all suspect the movie’s director, Scott Derrickson of having had such pointed intentions while making the film, but the beauty of movies is the free-floating power of moments that burst the bonds of dramatic intent, and “Doctor Strange” is full of them.
November 04, 2016
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Anyone looking forward to the film will have fantasized that it would do justice to the dimension-hopping weirdness of the original by pushing the visuals to the limit. Indeed, Derrickson, DP Ben Davis, production designer Charles Wood, and special effects supervisor Stéphane Cerretti (whose credits include The Prestige and Guardians of the Galaxy) have not merely pushed the boat out but turned the boat inside out and twisted it into a Moebius-strip replica of itself.
November 03, 2016
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A centerpiece gravity-defying brawl/chase through an endlesssly shifting Manhattan should be a highlight, but when space and geography and physics literally don’t matter there’s little to latch onto but the CGI flourish and even less to anchor the camera to anything coherent. If this is Marvel letting loose and getting weird, it’s only clearing a low bar.
November 03, 2016
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Derrickson is a horror specialist, with credits that include The Exorcism of Emily Rose, Deliver Us From Evil, and Sinister, and he proves to be an inspired choice, a dextrous technician with a good sense of humor. Even with the fate of the entire universe at stake, Derrickson keeps the tone appealingly light and jokey, and Cumberbatch’s Strange isn’t so cynical that he can’t thrill at discovering his spectacular capabilities and the limitless universe that opens up before his eyes.
November 03, 2016
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One of the pleasures of “Doctor Strange” is the way it both wholly embraces and gently mocks the unapologetic geekiness of the enterprise… The film wields its occult accouterments with scholarly pride; the best supporting performance here is arguably given by the Cape of Levitation, which loyally affixes itself to Strange but turns out to have quite a mind of its own. Edna Mode would surely disapprove.
November 03, 2016
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The movie’s more lysergic sections are followed with carefully aligned narrative bricks and mortar and sometimes sealed with a quip, as if to reassure you that there’s nothing too far out about any of this. That’s hardly unexpected, and it also scarcely matters because when a good fantasy fiction like this opens that door of perception called imagination it’s a total trip.
November 03, 2016
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Even beneath his somber Samurai garb, Ejiofor can’t hide his obvious pleasure in getting to play, finally, a Marvel character: It’s delightful to see him having so much fun. And Cumberbatch, both a natural comedian and a subtle one, knows how to get a big laugh from nothing more than an arched eyebrow. That’s got to be one of the biggest and most delicate feats of wizardry in this vast and unknowable universe, and Cumberbatch comes by it effortlessly: No ancient Celtic secret needed.
November 03, 2016
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Quibbles and nagging discomforts aside, the film rates with Ant-Man and Captain America: The First Avenger as one of Marvel Studios’s few truly invigorating, distinct products. Marvel’s action has rarely been memorable, but it’s thrilling to watch characters fighting through collapsing and reshaping mirror worlds, or of Strange’s spirit fighting a bad guy in astral space while he physically undergoes surgery, his spectral form receiving explosive jolts of energy as his body is defibrillated.
November 02, 2016
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The film’s Dark Dimension is, well, darker than Ditko’s Dalí-cum-Escher locale, but is refreshingly unusual for a comic-book movie, building on the trip to infinite smallness in Ant-Man (2015) with touches of the last act (‘Beyond the Infinite’) of 2001: A Space Odyssey (1968).
October 29, 2016
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The visual style is by far the most interesting of any Marvel film. Rarely has a modern blockbuster so fully embraced the possibilities of digital cinema for its fantastical sequences, incorporating its action into infinite views formed through the code-like repetition of visual motifs. Derrickson invites us to bask in the utter physical irrationality and playfulness of the algorithmic designs, just as he devotes himself to an almost docu-style approach when returning us to the real world.
October 25, 2016
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