Reviews

‘Doctor Strange in the Multiverse of Madness’ Review

Posted on by Raúl Alejandro Mendoza in Reviews

The newest entry in the Marvel Cinematic Universe is a messy film that is coated in the stylistic approach from Sam Raimi.

CREDIT: Disney

6.5/10

At this point in time, the Marvel Cinematic Universe is a well-established part of our lives as it has permeated the zeitgeist enough to stay for a decade and some change. Disney/Marvel has dominated the film industry with their expansive shared universe that now branches into their streaming service with shows like WandaVision and recently Moon Knight. To be honest, I am not the biggest fan of these films. Over the years, I have seen the films become more and more complacent with their formula. Even though I am not a big fan of these films, there is a good amount that I enjoy inside their 28 film catalog. Doctor Strange is one of those films, and I will go as far as to say it is in my top ten of the Marvel Cinematic Universe. Obviously, when word about the sequel was on its way I highly anticipated its release.

Doctor Strange in the Multiverse of Madness is directed by Sam Raimi from a script by Michael Waldron. Originally the sequel was going to be directed and co-written by Scott Derrickson who worked on the first film. Scott Derrickson left the project at the beginning of 2020 citing creative differences as the reason for his departure. The film stars Benedict Cumberbatch, Elizabeth Olson, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, and Rachel McAdams. This time around, Doctor Strange (Benedict Cumberbatch) must deal with the events of Spider-Man: No Way Home which gave the first taste of the vast multiverse making its way to Earth. Doctor Strange must embark on a journey with a new friend, America Chavez (Xochitl Gomez), who is being chased by demons that are ordered by Wanda Maximoff (Elizabeth Olson) or as known as Scarlett Witch. Doctor Strange must travel throughout the vast multiverse to find a way to save Chavez from the ruthlessness of Scarlett Witch as she searches for her lost children.

Doctor Strange in the Multiverse of Madness is a stylistic spectacle brought to life by horror legend, Sam Raimi. The film excels in the visual department as it keeps the momentum of its visual effects while employing the stylized camera movements from Raimi’s arsenal. Danny Elfman provides one of the best scores to grace the comic book movie genre. I especially loved the use of it during a fight scene where literal musical notes are used as weapons. The film does well in bringing a new feel to a shared universe that has long felt stale. Sam Raimi’s visual aesthetic is at the forefront and for better or worse it helps keep the audience enthralled.

On the contrary, Doctor Strange in the Multiverse of Madness is far from perfect. The writing feels unbalanced as its first-half works better than the subpar second half of the film. Characters like America Chavez are one-dimensional and leave more to desire from their journey in the picture. The character of Scarlett Witch continues on with the various problems I found within her show, WandaVision. There is potential within the film that is pushed aside to settle with a clunky third act. Doctor Strange in the Multiverse of Madness is a fun time at the cinema as we continue the journey of everyone’s favorite sorcerer. Even though it does not work most of the time, the Marvel machine does not stop as audiences patiently await the next installment in this vast universe.

Watch Doctor Strange in the Multiverse of Madness in theaters worldwide.

‘Vortex’ Review

Posted on by Raúl Alejandro Mendoza in Reviews

Gaspar Noé’s heartbreaking look at aging is a painfully accurate film from his unique catalog.

CREDIT: Utopia

9.5/10

It is an understatement to say that I have been eagerly awaiting the release of the newest film from Gaspar Noé. If you have been keeping up with the site you can tell I wrote a whole retrospective series on the filmography of Gaspar Noé. It has all led up to this film and the upcoming US release of Lux Æterna. It is hard to discuss why I am so excited to watch a film about dementia. I promise you all, I am not a complete cynic to find enjoyment in watching incredibly depressing films. My maternal grandmother suffered from Dementia and Alzheimer’s disease, and since I was young I watched the decline of her brain to this terrible disease. I fear this disease so much because I have singlehandedly watched how it strips you of every inch of your agency. Therefore, it is easy to say that this film would hit close to home.

Vortex made its premiere out of competition at last year’s Cannes Film Festival. Gaspar Noé conceived this project after almost dying from a dangerous brain hemorrhage. The film is written and directed by French Argentine filmmaker Gaspar Noé. The film stars Dario Argento, Françoise Lebrun, and Alex Lutz as they portray an elderly couple who are facing the roughness of aging as their son maneuvers his problems too. The film is described by audiences, as the “tamest” of Gaspar Noé’s work while presenting the film in split-screen visual language.

In the story of Vortex, we follow an elderly couple who are only referred to by the names of him and her played respectively by Argento and Lebrun. Alex Lutz plays their son Stephane who is trying to find a solution to deal with his mother’s rapidly advancing dementia. Things are not easy for his father because he has heart-related health problems after suffering a stroke years ago. The mother is a psychiatrist and the father is a writer who is writing a book about films and dreams. Vortex’s story is one of aging, loneliness, and the fear of losing control.

Gaspar Noé reaches new heights in his new masterful work of art. The film works to break barriers within his expansive filmography, but it also excels in presenting one of the most intimate portrayals of dementia on film. Françoise Lebrun’s performance is masterfully heartbreaking as she pulls on every heartstring to convey the psyche of someone with this terrible disease. There is not a single moment where every stare does not effectively portray the loss of agency in Lebrun’s character. Dario Argento and Alex Lutz are not left behind in the shadows of Lebrun as they provide fantastic performances. Everyone in the film is working well together to turn in exemplary performances. The film’s visual language is stylistically exquisite with its use of split-screen as it effectively displays the disconnection from reality as our protagonists exist in the same space. Gaspar Noé undoubtedly crafts not just one of the greatest films in his catalog but of this year. 

The magic of Vortex is that it is not just a grim look at aging. The film is precise with tenderness and patience as it slowly uses its runtime to unravel its narrative. Its tracking shots linger longer than they need to as you consume the atmosphere in which the couple lives. Vortex manages to challenge conventional storytelling while delivering a film that speaks beyond its surface. A once-in-a-lifetime stylized work of art that could only be made by Noé. Everyone should be along for the ride of where Gaspar Noé will go after Vortex as he cements himself as the most versatile filmmaker working today.

Watch Vortex in theaters nationwide as it is being distributed by Utopia Movies.

‘Inbetween Girl’ Review

Posted on by Raúl Alejandro Mendoza in Reviews

Mei Makino’s directorial debut is a splendid coming-of-age story that tackles the ups and downs of youth.

Courtesy of Utopia

6/10

The coming of age theme is definitely one of my favorites especially when they can do something different with it. There is something truly special about watching someone’s journey as they make a monumental change. We have seen some beautiful examples of coming-of-age films like Lady Bird, Boyhood, and a personal favorite, Real Women Have Curves. When I was approached to review this film, I was really interested in checking this out. Let’s say that Inbetween Girl was a pleasant surprise.

Inbetween Girl premiered at last year’s South By Southwest Festival in Austin, Texas. The film is the directorial debut of Mei Makino. The film stars Emma Galbraith, William Magnuson, Emily Garrett, Liz Waters, KaiChow Lau, Thanh Bui, Shanshan Jin, and Kelsey Buckley. The film won the Visons’ Audience Award. The film is now preparing for a VOD release by distributor Utopia.

In the film, we follow the journey of Angie (Emma Galbraith), a biracial Asian American living in Galveston, TX maneuvering the rough tides of adolescence. Angie is into film photography and attends soccer practice. She has a friend named Rebecca (Kelsey Buckley), who makes attending her catholic school easier. Then there is Liam (William Magnuson), he is the school dreamboat who is dating a young influencer at their school, Sheryl White (Emily Garrett). Liam ends up giving rides to Angie back home, but soon after they begin to have a secret affair. Angie begins a rocky love affair and embarks on a journey of self-discovery while maneuvering the effects of the divorce of her parents.

I found myself having a pleasant experience with Inbetween Girl. The film’s story grabs the viewer’s attention and allows us to care about Angie’s life. Yes, the overall love affair is pretty trivial and something that happens to pretty much any young person growing up. Mei Makino constructs a solid debut to her promising career as a storyteller. The visual language is not the most extravagant, but the locations allow for an interesting frame. The film meanders a bit in the first half but makes it up with its compelling story. The cast works well off each other, and their chemistry shines brightly throughout the runtime. Mei Makino balances well the themes of Inbetween Girl. Enough time is given to flesh out how Angie feels about her parents’ sudden divorce and her affair with Liam. When it’s time to conclude, Makino does a beautiful job of creating the necessary tender moments of the film’s resolution. I am on board with what Mei Makino brings to the screen next.

Watch Inbetween Girl when it hits VOD services on May 3rd.