Review: 'Doctor Strange in the Multiverse of Madness'

by Nathaniel R

In the recent What If? series on Disney+, which is based on the comic book series of the same name, Marvel's writers could fashion any kind of variation on traditional heroes (and villains) and storylines without any actual consequences for the large familiar canon. Zombie avengers? Sure! Peggy Carter as Captain America? Why not! The What If? series of the 1970s was not quite the beginning of the Multiverse in comics but it was close enough. These thought experiments were always pitched as alternate realities (as opposed to pure fiction) though it took awhile before the effects were felt. The multiverse essentially became a shortcut to any type of retconning any storyteller wanted to do; Contrary to all that dialogue in Loki, Marvel has no "sacred" timeline given all the reversals, resurrections, reboots, and switcheroos. The multiverse virus was even more of an epidemic in DC comics, Marvel's top competitor.

Unfortunately if What If is essentially fan-fiction without the fans, then Doctor Strange in the Multiverse of Madness is arguably stingers without a movie. The latest MCU movie is positively awash in cameos and teases for future installments, resulting in a film that feels very much like an incoherent feature-length mid-credits scene... 

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Support Original Filmmaking - See 'Everything Everywhere All At Once' on the Big Screen

by Eurocheese

If you haven’t already experienced the cinematic joy of seeing Everything Everywhere All at Once with an audience yet, you’re missing out. This creative powerhouse is adding back IMAX theaters this week and may become A24’s biggest box office hit to date. Anyone who believes Hollywood doesn’t bring original content to our screens anymore owes it to themselves to see this as soon as possible. Just in case you weren’t convinced by the critical raves and audience support, here are a few reasons this film needs to be seen on the big screen.

Daniels’ (writer/director duo Dan Kwan and Daniel Scheinert) latest film is a visual feast, incredibly made for just $25 million and a tiny vfx team. As it pairs elements of action with comedy and family drama, the action sequences dazzle with varying tones, ranging from images you might see in a Scott Pilgrim vs. the World battle to scenes that the cast of Jackass would applaud...

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SAG Nominations - Movies

We'll have a separate post for the TV nominations a little later today but first, the MOVIE nominations. 

OUTSTANDING ACTRESS

• Jessica Chastain, The Eyes of Tammy Faye
• Olivia Colman, The Lost Daughter
• Lady Gaga, House of Gucci
• Jennifer Hudson, Respect
• Nicole Kidman, Being the Ricardos

Instant Impression: The morning's biggest shock -- no Kristen Stewart in Spencer. I'm okay with this but the internet won't be...

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"No Way Home" and Oscar Dreams. Or, When advocacy goes wrong...

by Nathaniel R

There are some that argue that Oscar pundits shouldn't be critics or vice versa. Prognostication and film criticism both require analytical skills but they're different jobs. The lines get murkier when it comes to advocacy. Each media outlet produces more Oscar coverage than we have ever had in the past. It's subversively hilarious that as Oscar ratings have steadily dwindled in the era of splintering audiences, discussion and analysis of the awards race is noisier and more populated each year! Yet, if the proliferation of film critics organizations has taught us anything it's that if you get enough film types in a room to talk "Best"... they will immediately, whether consciously or not, begin to equate Best with Oscars. That's how successful the Oscars have been as a name brand and institution. You can see it in the prizes given each year in the precursor awards and how eagerly space is handed over to presumed Oscar hopefuls that don't really need the boost. Even while the same journalists and outlets, who vote on the preliminary prizes, regularly bemoan that 'Oscars never get it right'. Advocacy doesn't equal prognostication but it looks too much like it at times.

Into this mess of adjacent but not always compatible agendas, comes the superhero blockbuster. In this case, Spider-Man: No Way Home which is suddenly getting the "nominate it for Best Picture!" discussion...

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Interview: "Escape from Mogadishu" director on following "Parasite" towards the Oscars

by Nathaniel R

The "Korean Wave" has exploded in the last decade as more and more international audiences eagerly lap up South Korean music, television, and film. The roots of that cultural tidal wave go back to the 1990s and, in film, particularly the early Aughts when a group of young directors took the country by storm with exciting genre films. Some of them like Park Chan Wook and Bong Joon-Ho have gone on to become international superstars but they weren't alone. Ryoo Seung-wan, one of several others to make waves in the Aughts with hits like Die Bad and The Unjust is, in some ways still rising. He recently had the biggest hit of his career and awards nominations at home with the action drama Veteran and, now, a handful of years later, another huge hit and his first Oscar submission. Escape from Mogadishu is a tense action drama and true story. When the Somali Civil War broke out in the 1990s, the North and South Korean embassies were thrust together, against their natural impulses, in a desperate attempt to survive.

We recently had the chance to sit down with Ryoo Seung Wan in Los Angeles as his film was screening for Academy voters. He was in something like a state of joyful disbelief, laughing as he told me "my parents were actually married at a venue called 'The Academy'!". This interview was conducted through a translator and has been edited and condensed for clarity...

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