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Doctor Average

by letusgotothemovies

Doctor Strange has got a lot working for it. It’s the first sorcerer story in the MCU. The special effects are mostly visually stunning. The titular character is played by the beautiful Benedict Cumberbatch. It features another infinity stone. Music is used very well. And the plot is actually quite decent. But the promise of this film is left unfulfilled by poor writing. The writers have paid much attention to developing the character of Doctor Stephen Strange. Unfortunately, other parts of the story do not get a similar treatment. The movie is not as dumb as Ant-Man, but it gets close in parts.

Doctor Strange has a strange villain problem (#pungamestrong #Sorrynotsorry). It has two villains, and neither of them do justice to the film. From the very beginning of the film, we know Kaecilius is formidable. He also has a reasonably well-defined agenda. The problem is that he just lacks any personality or charisma. I couldn’t seem to care about him at all. The other antagonist is the Dark Lord Dormamu who wants to take over the Earth. I actively hated Dormammu. He is a piece of bad CGI and has no explicit motivation in his desire for the Earth. The conflict in this case relies exclusively on action in order to shine. To be fair, the special effects used are somewhat palliative in this case. It is a lot of fun to see different tricks being employed during action sequences. But I kept thinking how much better it would have been with a villain who made his presence felt or at least gave a damn. I also found Tilda Swinton’s character underwritten. I love Swinton’s presence in the movie, but her character also left me with more questions than answers. For instance, why did she have to draw power from the Dark Dimension? What did she do with those powers? Since the Dark Dimension is such a crucial part of the film, these questions definitely needed answering.

Now that I’ve finished hating on the movie, let me tell you what I absolutely loved – Benedict Cumberbatch shines in the movie. His character is extremely well written, and he essays the role perfectly. From the arrogant, almost insufferable doctor at the beginning of the movie, to a dedicated student of magic, to understanding that his gifts are not for his sake, but they are his to give to the world, Strange has a strong character arc. His evolution is what makes this film feel delightful when it does. It I also nice, I must say, to see an infinity stone being used strategically rather than being feared or weaponised. It shows that the infinity stones can be used in specific ways. Their power does not lie only in blowing things up (as shown in other movies).

Beyond this, I don’t have a lot to say for this movie. It’s a mid-range film through and through.

 

Captain America: The Winter Solider – Exploring the Limits of Neorealism

by letusgotothemovies

This Captain America movie? So much better than the one before it. Captain America’s character is written so that it fits in with the Idea of America. But in this film, rather than being self-righteous, America is being self-critical and cautious. This prevents the character from becoming a stereotype, and makes him rounded. As a result, he responds much more organically to the story which is what makes the film memorable. Captain America is working for SHIELD now, an international security organisation. When SHIELD is compromised, its Director, Nick Fury, approaches the Captain to help save the organisation’s secrets and thwart any attempt at mischief. The rest of the movie is about the Captain assembling a team to uncover the traitors within SHIELD.

I guess the only infuriating thing about the film was that Captain America didn’t take the one order Fury gave him, and what circumstances suggested he follow – don’t trust anyone. Instead he proceeds to form a team with Black Widow, Falcon and Agent Maria Hill in order to save the Earth. However, I think it would have been nearly impossible to have a Captain America movie otherwise. After all, the Captain does need an army he can lead. But this film went beyond the image of Captain America and explored the person behind the costume. Captain America was designed to fight the battles of the state without question. Steve Rogers, on the other hand, can ask tough questions (even to those in power). In addition to demonstrating that he’s more than a pawn, Captain America exposes the problem with a purely neorealist understanding of security.

Neorealism, in the most reductive sense, suggests that the natural order of the world is anarchy. And power is the currency of international relations. States, in order to survive, must strive to procure as much power as possible. Power, in the case, is measured by military superiority. So, the most powerful state in the international system is one with the most powerful military capability.

How does this relate to Captain America, you ask? Well, as Secretary of State, Alexander Pierce admits that he and Fury share a realist understanding of the world. That it is necessary to remain ready to fight at all times, even if that means pre-emptively striking potential enemy targets. In this case, the struggle for power is only not between states but against alien threats as well. To that effect, Fury commissioned three helicarriers with hundreds of jets capable of striking hostile forces. A neorealist understanding of international relations would laud such policy. But the Captain recognises this policy for what it is – the powerful holding a gun to everyone’s heads and calling it security.

Amassing weapons indiscriminately, ironically, can have adverse implications for security, as the film goes on to show. HYDRA, previously the deep science division of the Nazis, which later morphed into a worldwide terrorist organisation, had infiltrated SHIELD, and planned to use the weapons to kill millions of people and restore order to what they considered anarchy. Captain America’s solution was not only to foil HYDRA’s plans, but to dismantle the structures (albeit to a small extent) that subscribe to neorealist understandings of power. He calls for the dismantling of SHIELD to increase transparency and reduce temptation to develop advanced weapons programmes.

Captain America’s image promotes a much more positive Idea of America. This America is interested in cooperation and transparency, rather than amassing power. It stands against any party using power to bully the rest of the world, even in face of unimaginable threats. That endears the audience to the character and what he represents. Add to that a well-written story, and you’ve got yourself a thoroughly enjoyable film.

Iron Man 3: Meh!

by letusgotothemovies

Day 7, dud 2. Iron Man 3 was such a disappointment. I wish I wasn’t saying this because I was so excited about it when the film started. But it got me thinking, ‘Why didn’t this movie work? What makes a good Iron Man movie?’ Here’s what I didn’t like about this movie: The film was extremely dull because none of it is believable. This sucked the joy out of the film. It may have even been a halfway decent movie, but after The Avengers, it came up short.

Before we get into the specifics of this movie, let us turn to the first question. What makes a good Iron Man movie? Iron Man is a superhero who is a product of his suit that gives him the information he needs to stay on top of his enemies during battles, ability to survive any and all circumstances (even going to outer space through a wormhole) and the ability to fight even the toughest enemies. The suit is best suited to fight enemies with powers to match: people with enhanced abilities or advanced technology. But the films are also a product of the man behind the suits. Its Tony Stark that leads Iron Man into conflict. So, the movie must also be sufficiently challenging for Stark.

On paper, this movie has all these elements. The film challenges Tony Stark by separating him (albeit briefly) from his suit. It challenges Iron Man by making his suit vulnerable to the powers of the antagonists – extreme heat that can penetrate the suit. The antagonist is formidable because he creates an army of people who can generate extreme heat. What it lacks, which is perhaps the most crucial element in an Iron Man story, is a cohesive, engaging story to tie these elements together. This is because of a dearth of a fresh plot and well written characters, and because of the way in which the conflicts in the film are resolved.

In the end, the film is about saving the US from terrorist attacks and rescuing the President and Stark’s girlfriend, Pepper Potts, from captivity. The stakes are high, but the bar for stakes has raised even higher by the last few films. Think about it. At this point we have seen two intergalactic conflicts and battles over an energy source that can create a wormhole to the other end of space. Compared to that, these stakes look stale. Regardless, this could have been a good film had it not been for poor execution.  Rather using action sequences to let the tension linger and engage audiences, the film tried too hard to tie up all loose ends. For instance, when the President is attacked on Air Force One, the plane has been damaged and people are falling to their deaths. This was a moment of high tension, but the director chose to resolve it quickly by having Iron Man catch all of them mid-air by forming a human pyramid. This had me rolling my eyes as far back as I could. Similarly, the final action sequence Stark summoned an army of robotised suits back him up. This came out of nowhere and made me wonder why he didn’t do so before when he needed a suit desperately.

Additionally, the characters in the film lacked conviction about what they were doing. This is most apparent with Maya Hansen, Stark’s ex-girlfriend. The film starts to establish her as one of the antagonists before abruptly giving her a change of heart. Similarly, the film goes to great lengths to establish a terrorist organisation and its head, ‘the Mandarin,’ but later shows the audience that the organisation is a farce, a coverup for the real antagonist. But what this person’s motivations are, what he plans to do with his power, are all questions that remain underexplored. Because of poorly written characters, the film is held weakly together by the power of Iron Man’s suits.

I wish the third instalment in the series had tried to build on everything the universe had established and tried to take it a step further. Or in the very least been a well-written standalone film. Anyhoo. Tomorrow is another day.

The Avengers: A Lesson in Continuity

by letusgotothemovies

Unlike most superhero movies, The Avengers is one of two movies I seen twice before. The previous two viewings had been when I hadn’t watched the preceding Marvel movies. I had watched it as a standalone film and I had liked it. After re-watching the movie now, however, I understood the movie much better. What’s the verdict on this movie now, you ask? Up until the very end the film is fun and believable. The climax showing Iron Man carrying a missile with a nuclear warhead into outer space through a wormhole and making it back alive? Not so much. Regardless, what I really admired about the movie was its ability to take a story that weaves through different films and tie it all together without alienating any audiences. Basically, if you like me watched the movie as a standalone film with no prior knowledge of the universe, you would still be able to understand and enjoy it.

The director, Joss Whedon, did a great job recapping the five previous movies into one film. The way he does that is by not rushing to make the viewer comfortable right away, but by taking his time to firmly establish the plot of this movie before filling us in on details. For more than an hour into the movie, the film provides references to recap the stories of each of the superheroes through dialogue and flashbacks. Furthermore, the interactions between the characters also help the viewer understand their essential nature and therefore engage with the film. Thus, rather than a mishmash of different people with cool powers, the film becomes cohesive – one of a team banding their forces together to serve as the protagonists against a group of powerful antagonists.

Let us first look at how the film fills the viewer in on the backstory. The Avengers’ challenge is that the story of the film deals with the Tesseract, an energy source that has been important in previous movies. A large chunk of the audience is also familiar with the stories of four out of the six Avengers in the movie as well as their relations with other characters in the film. But placed together, the events and timelines can be confusing. Before the film takes off, it needs to jog everyone’s memory. Since the Avengers don’t know each other, the film uses introductions and initial interactions as a way to sneak in the story line thus far. For instance, we learn about the conditions that transform Bruce Banner into the Hulk – high-pressure environments and pressurised containers like aircrafts and submarines are triggers that can unleash the Hulk – when Banner is trying to explain to SHIELD why he shouldn’t be on the team. We also learn that the Hulk cannot be controlled or killed. This information is important for the viewer to understand what a character (in this case the Hulk) can do. Similarly, we learn about the Tesseract (which was introduced in Thor and was explored further in Captain America) when Natasha Romanoff tries to explain it to Banner. The uninitiated audience gets a sense of what this object is, why so many parties are interested in it and why they need a team with a specific skillset to get it back since it’s been stolen. In doing so, the audience gets a sense of what the catalyst in this intergalactic conflict is. Using characters to introduce themselves, their stories and their interests gives the audience context about the story that is unfolding.

What I admired about the movie (and about Marvel as a whole) is that it didn’t stop at recapping the stories of characters and giving us a glimpse of their powers. It tells us about the nature of these characters. Marvel takes character profiles very seriously. A character’s actions are motivated by his/her personality. So, an action-packed superhero movie is not just a bunch of characters performing antics. The films tell a cohesive story whose dynamics are shared by the personalities of the characters, not just by their powers. And as the films progress, their personalities also evolve. This means Tony Stark is still an arrogant prick, especially when he condescendingly tells Thor that he has a ‘mean swing’. But the death of a beloved SHIELD agent compels him to put his ego aside and work with the other Avengers. Similarly, Thor isn’t just an alien who can swing a powerful hammer. In the previous film we saw him transform from a brute to a king. Here the trajectory continues with him wanting to use his strength to ensure good governance on Earth. But he actually takes it a step further, by realising that he needs allies in his quest and working together as an equal with other heroes on his mission. The Thor from the previous film wold have led his friends into battle or taken on the enemy alone. Working with others is new for the character.

Regularly recapping the story and focusing on the nature and personalities of the characters lend continuity to The Avengers. Without them, the film could have quickly descended into mindless action that would leave the viewers dissatisfied and confused (like Fantastic Beasts: The Crimes of Grindelwald did. But that rant can wait).

Before I end, I express a few thoughts on Captain America’s espousal of the Idea of America. Given as this movie is about an intergalactic war that is not being fought by the American state, the writers try to steer the Captain away from engaging in any explicit propaganda about the US. Much of his old-fashioned behaviour is explained away by reminding the audience that he was asleep for 70 years and hasn’t been in keeping with the times (like when he dismisses Thor as being a God – even though he’s a Norse God – by saying that “there is only one God, and I am pretty sure he doesn’t dress like that.”) Even so, he is America. This means that when Thor and Iron Man are fighting, he is the voice of reason that tells them to cut it out. And when the Avengers assemble for their final fight of the movie, it is he who calls the shots. But I guess that is just who the character is, and writing him any differently would do him disservice.

Lastly, a couple random thoughts. First, how great is Loki? He’s good looking, sassy, formidable, and in Iron Man’s words, a “full-tilt diva”. He commands the screen and owns the narrative like no one else. Second, how great was the action scene in Germany set to wester classical music? Who knew fighting and Franz Schubert went so well together? And lastly, I’m so glad the film introduced Black Widow and Hawkeye and I cannot wait for these characters to get their own individual films.

There you have it, the end of Phase I. Now on to Phase II.

Captain America and the Idea of America

by letusgotothemovies

At the very outset, let me start by stating that Captain America is probably my least favourite superhero. He is too overly patriotic and too old fashioned for me, and his fighting prowess doesn’t do much to make up for his personality. That said, Captain America: The First Avenger is actually a good movie. Set in the early 1940s, Captain America is an experiment by the US government to develop a supersoldier in order to help win World War II. The period and setting of the plot explain the patriotism and the predominance of male characters. This stopped me from rolling my eyes and actually concentrating on the protagonist.

Captain America has all the trimmings of a traditional superhero, but he is different in one crucial aspect – the character was written as a part of US propaganda during World War II and hasn’t been able to shake off the remnants of propaganda since. This is because Captain America isn’t just another superhero or even just a great soldier. He represents the Idea of America. He is the image of the US that the latter wants to portray to the world. And the writers have kept this in mind while constructing the character for the film. Georg Lofflmann, a professor of US Foreign Policy and American Politics at the University of Warwick, has expressed this idea in his PhD thesis, “The Fractured Consensus: How competing visions of grand strategy challenge the geopolitical identity of American leadership under the Obama presidency.” He argues, “Captain America [in his costume of stars and stripes] doesn’t just fight for America, he also is America (emphasis mine).” Therefore, a close observation of the movie can help us get some insight into how the US wishes to be seen in the world.

Let us start with Captain America’s origins. Steve Rogers is the literal embodiment of the American Dream. Before he became Captain America, Rogers was just another kid from Brooklyn. He wasn’t born with Tony Stark’s privilege or didn’t grow up with Black Widow’s training. He certainly wasn’t a god like Thor. Rogers was written as a man who believed that he had the ability to become whatever he wanted if only he went after it and worked hard enough – the literal definition of the American Dream. In the film his passion and perseverance turn a scrawny kid into the light-haired, light-eyed supersoldier who had the potential to win the war for the US.

Next, let us look at the supporting cast. When he realises that he needs to assemble an army to fight the Nazis, particularly to defeat their deep science division, Hydra. The Captain’s army comprises of people of different nationalities, cultures and races. People who otherwise would have been treated as refugees, having just been freed from an enemy camp. But Captain America takes them all under his wing and they become a part of his team. The banding together of different peoples is a metaphor for the US being a melting pot of different cultures domestically, and a capable leader of different nations internationally. These are both images that the US wants to project about itself (at least in part), and the film does that effectively.

Lastly, Captain America’s superpowers are an explanation for American exceptionalism, the idea that the US is not like every other country in the world. The idea, according to Lofflmann stresses the “singularity, superiority and essentiality of the United States in the international system.” Captain America has his powers because he got injected with a serum, but the serum only amplified what was already true of Rogers, that he was a good man and a strong soldier. The same serum when injected in the body of America’s enemies turns them into monsters, like Red Skull, the principal antagonist of the film. Captain America’s powers are therefore a justification for maintaining American military superiority because it perpetuates the idea that the US has the values to handle power, unlike its enemies that will only use power for destruction.

So where does that leave us? Clearly propaganda cannot be separated from Captain America. What will be interesting to watch in subsequent films (particularly after this viewing and analysis) will be how the character who is the personification of America interacts with other characters with different motivations. In the films that follow, I will be paying particular attention to this factor.