Tag Archives: Charlize Theron

Doctor Strange in the Multiverse of Madness Review

In an interview with Polygon, director Sam Raimi said he hopes audiences can “use their imagination” when they step into his first Marvel outing, Doctor Strange in the Multiverse of Madness. That is unheard of for the series of near-30 features so far. Another plunge into the usual formula time and time again, relying more and more on the simple tactics that have conned people into wanting the same thing over and over. More power to those who can trick audiences into trickling cash into an unchanging, unmoving product for the emotionally deficient. Unfortunately, Doctor Strange in the Multiverse of Madness soon boils down to pop-culture jabs, cameo-stuffed filler roles for the friends of Raimi (a wasted Bruce Campbell role is offered up) and the inevitable crossover of product fighting products looking to destroy some vague entity. Welcome to the Marvel Cinematic Universe.  

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The Road Review

Bleak simplicity was the anguished core of Cormac McCarthy’s novel, The Road. Its tale of a father and son traipsing through life and trying to survive is a touching portrayal of disastrous consequences and the bond between family left unbroken. Adapting that to the big screen was always a run of the gauntlet. No sooner had Viggo Mortensen signed on to play the role of the father, that The Road soon took shape as something different. Something new, and exciting. A remarkable rendition of a text that felt truly, truly bleak. What it lacked was something to compare it to, but it is only now, watching this feature from John Hillcoat, that we can realise it was not needed at all.

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The Cider House Rules

How easy it must be to make such a boring film. When aiming for awards, it is easy for the tunnel vision to consume any semblance of interest in a project. With its sole aim being to provide Michael Caine with an Academy Award on a silver platter, the work within The Cider House Rules leaves much to be desired. Approaching its cast with such meticulous care and fear of offence, the instant downside to this piece is that it has nothing emotive or interesting in its possession. All heavy-hitting points to make for what should be an amicable opening to a film that bagged Caine his second Oscar, but why hold back the punches if they’ll be let loose anyway? The Cider House Rules, after all, has become somewhat of a relic, and it held such a stature long before it had made the rounds on the DVD nostalgia market. 

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