Flashback: ‘Captain America: The First Avenger’

Before The Avengers would assemble, audiences were introduced to perhaps the team’s most crucial member…

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Chris Evans leads as Steve Rogers/Captain America in director Joe Johnston’s ‘Captain America: The First Avenger’ (image credit: Disney/Marvel Studios).

Year:  2011

Starring:  Chris Evans, Hugo Weaving, Hayley Atwell, Sebastian Stan, Tommy Lee Jones, Dominic Cooper, Stanley Tucci, Toby Jones, Samuel L. Jackson

Directed by:  Joe Johnston / written by:  Christopher Markus and Stephen McFeely (Captain America created by Joe Simon and Jack Kirby)

What’s it about?

Rejected from enlisting in the U.S. Army, Steve Rogers, a physically weak but strong spirited young man from Brooklyn is recruited for a secret programme that will see him transformed into the ‘Super Soldier’ Captain America, to lead the fight against the forces of Hydra…

Retrospective/review

In July of 2011, Marvel Studios edged closer to the culmination of ‘Phase One’ of its plans for the Marvel Cinematic Universe, as it approached The Avengers, with the release of Captain America: The First Avenger introducing audiences to Steve Rogers/Captain America, the classic Marvel hero who will be the keystone of the eponymous comic book superhero team.

Directed by Joe Johnston (The Rocketeer, Jurassic Park III), and starring Chris Evans, Captain America: The First Avenger is predominantly a period piece bookended by scenes taking place in modern day.  The bulk of the narrative unfolds at the height of World War II, where Steve Rogers (Evans), a physically diminutive but noble spirited young man from Brooklyn, repeatedly refused enlistment in the U.S. Army, is selected for a top-secret programme where an experimental serum transforms him into the tall, muscular and agile Super Soldier ‘Captain America’ who will lead the fight against Nazi lieutenant Johann Schmidt – aka ‘The Red Skull’ (The Matrix trilogy’s Hugo Weaving) – and the forces of Hydra as they seek to unlock the powers of a mysterious and powerful artefact known as the Tesseract.

The casting of Chris Evans in the lead role may not have seemed an obvious one (even though he was a highlight of 20^th Century Fox’s not-so-great Fantastic Four films, where he played The Human Torch) but any fears where quickly allayed with an instantly likeable and grounded performance as Steve Rogers, prior and post-transformation and it’s now difficult to imagine anyone else playing the role.  It helps that writers Christopher Markus and Stephen McFeely provide Rogers with a strong character arc, from the frustrated underdog and determined recruit to subsequent propaganda performer (the stage shows and movie serials with accompanying costume providing nostalgic homages to the history of Marvel’s ‘Star-Spangled Man’) and his eventual first real mission as Captain America, it affords Evans with rich material to invest in.  Kudos also must be given to costume designer Anna B. Sheppard as Cap’s World War II battlefield uniform is a standout example of creating something that is both faithful and unique and looks great onscreen.  The use of doubles and digital effects trickery also proves convincing in presenting viewers with the smaller and more slight pre-serum Rogers.

Hugo Weaving as Johann Schmidt/The Red Skull, one of the MCU’s more memorable villains (image credit: Disney/Marvel Studios).

Evans is ably supported by Sebastian Stan, making his first appearance as Steve Rogers’ best friend James Buchanan “Bucky” Barnes (later to become the Hydra-conditioned assassin known as The Winter Soldier) but it’s undoubtedly the superb Hayley Atwell who proves his equal as the no-nonsense and dutiful British Agent Peggy Carter.  Evans and Atwell have wonderful chemistry and Carter is a great addition to the MCU, so it’s little wonder that Atwell would reprise here role in subsequent films and earn her own short-lived tv series (the sorely overlooked Agent Carter).  As the main antagonist, Hugo Weaving (who had previously worked with Joe Johnston on Universal Monster remake The Wolf Man) effortlessly delivers one of the MCU’s more memorable villains as the iconic Red Skull.

The cast is rounded out impressively with the participation of Oscar Winner Tommy Lee Jones (earning the prestigious award for Best Supporting Actor in The Fugitive) as Colonel Phillips, Stanley Tucci as the Super Soldier serum’s creator Dr. Abraham Erskine (who also has a great rapport with Chris Evans, with some great character-building scenes between the two), Dominic Cooper as Howard Stark (father of future Iron Man, Tony Stark), Neal McDonough as “Dum Dum” Dugan (one of the infamous “Howling Commandos”) and Toby Jones as Hydra scientist Dr. Arnim Zola.  Lest us also not forget that there’s another enjoyable cameo from late Marvel Comics legend, Stan Lee as well as an appearance from Samuel L. Jackson as Nick Fury.

Much like he demonstrated on The Rocketeer, Joe Johnston balances story, character and action brilliantly, weaving touches of Raiders of the Lost Ark into the nostalgic and adventurous fantasy period piece.  Of the film’s action set-pieces, they are numerous (and enhanced by Predator and The Abyss composer Alan Silvestri’s music score) and expertly staged, whether it’s Rogers’ rescue of imprisoned soldiers from the clutches of Hydra or the tense and gripping flying-wing finale.  Said finale of course sees Captain Rogers attempting the ultimate sacrifice to save the free world from annihilation.  Luckily, he is frozen deep in ice, to be discovered and revived in present day, leading to a poignant dénouement that paves the way for Marvel’s expanding film and television universe.

Captain America: The First Avenger is an underrated early effort from Marvel Studios that firmly establishes Marvel’s Golden Age hero and puts the final pieces in place before unleashing their ambitious and highly anticipated team-up, The Avengers.

Geek fact!

Actress Laura Haddock, later to play Peter ‘Star Lord’ Quill’s mother in Guardians of the Galaxy makes a brief appearance in The First Avenger as an autograph seeking admirer of Captain America.  Subsequent Doctor Who companion Jenna Coleman can also be seen in a small role as Bucky’s date at the Stark Expo.

All images herein remain the property of the copyright owners and are used for illustrative purposes only.

Flashback: ‘Spider-Man’

Before the genesis of the MCU, Marvel’s most treasured icon made his big-budget silver screen debut in Sony’s ‘Spider-Man’…

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Poster art for director Sam Raimi’s ‘Spider-Man’ (image credit: Sony Pictures/Marvel Entertainment).

Year:  2002

Starring:  Tobey Maguire, Willem Defoe, Kirsten Dunst, James Franco, J.K. Simmons, Rosemary Harris, Cliff Robertson

Directed by:  Sam Raimi / written by:  David Koep (Spider-Man created by Stan Lee & Steve Ditko)

What’s it about?

Bitten by a genetically engineered spider, teenager Peter Parker finds he is endowed with enhanced strength and senses which he utilises for good as the heroic costumed vigilante ‘Spider-Man’…

Retrospective/review

Whilst the great explosion of comic book films began in the summer of 2000 with the release of 20^th Century Fox’s X-Men, the continued success of the genre was undoubtedly secured by the debut of Sony/Columbia Pictures’ Spider-Man two years later.  Helmed by Sam Raimi, director of The Evil Dead – and a huge Spider-Man fan – with a screenplay by David Koepp (Jurassic Park), the first big screen outing for Marvel’s iconic webslinger is well worth revisiting.  Being Marvel’s most treasured character, Spider-Man had previously been adapted into live action in a short-lived late 1970s television series and had more recent success on the small screen with the hit animated series which ran between 1994 and 1998.  After an aborted attempt by Aliens and Terminator 2 director James Cameron to bring Spidey to the big screen in the mid-90s with Carolco Pictures, Sony’s Spider-Man would hit cinemas in the summer of 2002.

An origin story, Spider-Man sees high school student Peter Parker, gifted with the proportionate strength, enhanced senses and wall-crawling abilities of an arachnid after being bitten by a genetically engineered spider (a modernised take on the more atomic age inspired radioactive one of the comic book), turn to a secret life of costumed crime-fighting following the murder of his uncle, Ben – an act he finds he could have prevented but fails to do so.  His heroic vigilante alter-ego identified by the public as ‘Spider-Man’, Peter is soon faced with the challenge of the ‘Green Goblin’, a deranged villain who begins terrorizing New York from the skies above with his aerial military assault glider.

Kirsten Dunst as the iconic red-headed girl next door, Mary Jane Watson (image credit: Sony Pictures/Marvel Entertainment).

In the lead role of Peter Parker/Spider-Man is Tobey Maguire, bringing to the screen the awkward, nerdy underdog qualities of the smart but meek Parker boy, with all the cares and ills of an everyday teenager to life whilst infusing his guise of the ‘Friendly Neighbourhood Spider-Man’ with the requisite dose of heroism, humour and good-heartedness.  He shares good chemistry with co-star Kirsten Dunst, who plays Mary Jane Watson, the seemingly unattainable red-headed girl next door he yearns to be with.  Equally suited is James Franco as Peter’s best friend, Harry Osborne, completing the central trio who will grow and develop over the course of the Raimi Spider-Man trilogy.  Filling the important parts of Peter’s Uncle Ben and Aunt May are, respectively, Cliff Robertson and Rosemary Harris with both actors deftly providing the supportive and loving parental roles that are a key component of the Spider-Man mythos.

As Norman Osborn/Green Goblin, Willem Defoe delivers an increasingly unhinged turn with Osborn’s path to insanity unfolding as the chemically induced persona of the Goblin takes hold.  The scenes in which Osborn ‘converses’ with the Goblin (in the mirror/via the Goblin armour helmet) are an irrefutable highlight of Defoe’s performance.  Granted, the design of the Goblin suit is a little like something out of Power Rangers but that doesn’t detract from the overall threat.  There cannot of course be any discussion of Spider-Man without praise for the inimitable J.K. Simmons as the cantankerous chief of the Daily Bugle newspaper, J. Jonah Jameson.  Simmons’ energetic portrayal of Jameson is such a delight and his crusade against what he perceives as the menace of Spider-Man bringing another essential ingredient to the mix.

Sam Raimi directs with a genuine passion and clear understanding of the Spider-Man character and his world.  Raimi’s horror background adds a pleasing hint of the gothic and a dash of dark humour to proceedings accentuated by the music score from composer Danny Elfman, who also provides a main theme as recognisable as that of the 1960s Spider-Man cartoon and as epically sweeping and heroic (complementing those exhilarating web-slinging scenes superbly) as Elfman’s previous work for Tim Burton’s Batman and Batman Returns.  The action is engaging and expertly staged, with an exciting and tense finale that’s also shockingly brutal as Osborn’s Goblin proves his physical might over the young and inexperienced hero.

The friendly neighbourhood web-slinger faces the deranged ‘Green Goblin’, played brilliantly by Willem Defoe (image credit: Sony Pictures/Marvel Entertainment).

Spider-Man remains largely faithful to the source material and despite the contemporary setting it very much feels like the classic Lee/Ditko comics of the early 60s, adhering to the spirit and core elements of those original stories – not in the least the tragic death of Uncle Ben.  Driven by Ben’s wise words that “with great power comes great responsibility” (invoking Stan Lee’s immortal phrasing from the Marvel Comics) to use his abilities for good, it also reminds us that the burdened hero is often the most interesting and identifiable and part of the reason why Spider-Man is such an enduringly popular fictional character.  There is one significant change from the established lore in Peter’s ability to shoot webbing organically from his wrists, as opposed to the mechanical web-shooters and web fluid he would invent in the comic.  It’s a slightly odd element that was (supposedly) retained from James Cameron’s treatment that would later be rectified with The Amazing Spider-Man reboot and continued in the recent Marvel Studios iteration.

Received favourably by audiences, Spider-Man is a solid, highly entertaining first big-budget cinematic outing for the Marvel Comics character which would lead to a sequel that many still consider one of the best comic book films of all time.

Geek fact!

The Evil Dead star Bruce Campbell cameos as a wrestling ringleader and would also go on to appear in Spider-Man 2 and 3.

All images herein remain the property of the copyright owners and are used for illustrative purposes only.

Flashback: ‘X-Men’

Summer 2000 saw the arrival of Marvel’s ‘X-Men’ on the big screen, leading to an explosion of superhero blockbusters at the cinema…

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Patrick Stewart and Ian McKellan provide heaps of gravitas in Bryan Singer’s ‘X-Men’ (image credit: 20th Century Fox).

Year:  2000

Starring:  Hugh Jackman, Patrick Stewart, Ian McKellan, Famke Janssen, James Marsden, Halle Berry, Anna Paquin, Tyler Mane, Ray Park, Rebecca Romijn (as Rebecca Romijn-Stamos), Bruce Davison

Directed by:  Bryan Singer / written by:  David Hayter (Story by Tom DeSanto & Bryan Singer.  X-Men created by Stan Lee and Jack Kirby)

What’s it about?

The not-too distant future: as the U.S. Government contemplates the introduction of a registration act for mutants – evolved humans with paranormal abilities – the benevolent ‘X-Men’, led by Professor Charles Xavier must stop Xavier’s old friend, Erik Lensherr and his Brotherhood of Mutants from igniting a conflict with the rest of humanity…

Retrospective/review

Although it could be argued that the contemporary explosion of comic book superhero films was initiated by the success of Blade in 1999, it was actually X-Men that brought the genre to the masses – leading to an (at least presently) endless crop of big screen comic book adaptations.  Helmed by The Usual Suspects director Bryan Singer, X-Men would become a smash hit for film studio 20^th Century Fox in the summer of 2000 and although it may now seem a little tame when placed alongside Marvel Studios releases such as the colossal Avengers Endgame, it remains an enjoyable superhero action adventure that has an important place in the history of superhero cinema.  It would also spawn a lucrative film franchise spanning almost two decades, concluding with last year’s unfairly maligned (albeit flawed) X-Men: Dark Phoenix…or technically, will conclude with the still as-yet unreleased New Mutants spin-off.

By enlisting a director of proven calibre and having its cast include two of the world’s most talented and experienced actors, Star Trek legend Patrick Stewart as Professor Charles Xavier – leader of the ‘X-Men’ and a mutant with incredible mental powers – and Ian McKellan as Xavier’s old friend turned enemy, fellow mutant Erik Lensherr – aka ‘Magneto’, with the ability to control magnetism – X-Men would take a serious and somewhat believable approach to the source material without betraying the core fantasy and socially aware elements Stan Lee and Jack Kirby infused into the original Marvel comics (and which was so well portrayed in the classic 1990s Fox X-Men animated series).  Some may have been upset by the lack of more colourful costumes, but the cool black leather X-uniforms are indicative of the style and creative intentions favoured in Singer’s film.

Hugh Jackman debuts as Logan/Wolverine (image credit: 20th Century Fox).

In X-Men, as U.S. senator Robert Kelly (Bruce Davison) debates the perceived danger of those with mutant abilities and presses for the Mutant Registration Act, Erik Lensherr, with his ‘Brotherhood’, believing that a war between mutants and the rest of humanity is all but inevitable, plots a pre-emptive first strike which Charles Xavier and his benevolent mutant X-Men must prevent.  In order to uncover Magneto’s plans, Xavier must investigate the link with two stray mutants – the young and afraid adolescent girl going by the name ‘Rogue’ (Anna Paquin, future star of TV hit True Blood), with the ability to absorb the powers of other mutants and the mysterious Logan, otherwise known as the cage fighter called ‘the Wolverine’, who is unable to recall his past or how his skeleton was grafted with the indestructible metal adamantium – a process he only survived thanks to his mutant-healing factor.

Although he may be taller than his comic book counterpart, Hugh Jackman – receiving top-billing – is instantly and effortlessly Logan/Wolverine, perfect casting in a role that would quickly become popular with audiences and fans alike.  Jackman simply is Wolverine, aside from matching the obvious physicality of the character (minus the height difference, which really isn’t an issue given the strength of Jackman’s performance) he embodies the spirit of Logan, from the raging temperament to the emotional depth arising from his nightmare flashes of lost memory and his befriending of Anna Paquin’s Rogue.  It’s a sublime portrayal right from the outset in X-Men and one that would only become more refined and assured in later instalments.

The cast of X-Men is filled out commendably with a generally strong group of actors who are a good fit for their characters.  James Marsden, Famke Janssen (previously a femme fatale in the James bond film Goldeneye) and Halle Berry make for pleasing live action versions of fan-favourite X-Men, respectively: the optic-blasting team leader Scott Summers/aka Cyclops (the conflict between Cyclops and Logan intact from the comics), the telekinetic Jean Grey (with no X-alias) and Ororo Munroe/aka Storm, with the ability to control weather effects.  Magneto’s Brotherhood boasts Rebecca Romijn as the shape-shifting Mystique, Tyler Mane as the feral Sabretooth and Ray Park (Darth Maul in Star Wars: The Phantom Menace) as the agile, whip-tongued and slime-spitting Toad.  They may not be afforded anything in the way of character development, but non-the-less help facilitate the threat to the central heroes.

‘Cyclops’ (James Marsden) leads the X-Men as they attempt to prevent a war with the rest of humanity (image credit: 20th Century Fox).

From a story by Singer and Tom DeSanto, the script is provided by David Hayter (best known for voicing iconic video game character Solid Snake in Metal Gear Solid) which captures the essence of the X-Men comics, it’s characters and the themes of prejudice and persecution which sadly remained as prescient in 2000 as they were in the 1960s, transposing it all into a more grounded reality.  Despite the more serious elements of the story (immediately evident from the bleak flashback opening at a World War II concentration camp, where the young Erik Lensherr is separated from his parents and his mutant abilities are first demonstrated) there’s still some fun to be had with a smattering of black humour and entertaining action sequences which complement the human and emotional aspects of the film.  The narrative wisely focuses on Logan and Rogue as the lone outsiders who cross paths with the X-Men, acting as a mirror for those in the audience unfamiliar with the world and characters of Marvel’s X-Men.  Bryan Singer’s direction is tightly and expertly executed, with a clear sense of visuals, tone and character deftly balanced with the action set-pieces which meld seamlessly with the special/visual effects which make full use of the $75 million budget (a princely sum back in 2000 but small change compared to today’s cinematic superhero offerings).  The Liberty Island finale is suitably tense and exciting bringing X-Men to an action-packed crescendo which may pale in comparison to the more epic and effects saturated climaxes of subsequent entries but is a satisfying close for Singer’s first effort.

Whilst the overall quality of Fox’s X-Men franchise may be inconsistent, the films are generally entertaining and sometimes excellent (see: X2, X-Men: First Class, X-Men: Days of Future Past and Logan) and Bryan Singer’s X-Men is certainly one of the better early Marvel Comics big screen adaptations, the success of which (along with Sony/Columbia Pictures’ Spider-Man) would allow more comic book blockbusters to hit the big screen and inevitably become the dominant genre in film and television.

Geek fact! 

Amongst the serving producers of X-Men was later Marvel Studios President Kevin Feige, mastermind and guardian of the Marvel Cinematic Universe.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Have You Read… ‘Hulk: Gray’?

The comics and graphic novels you may not have read that are worth checking out… 

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Cover art for the original hardcover collected edition of Hulk: Gray by Tim Sale (image credit: Marvel Comics).

 

Written by:  Jeph Loeb / art by:  Tim Sale (The Incredible Hulk created by Stan Lee and Jack Kirby)

What’s it about?

Seeking out an old friend, Dr. Bruce Banner recounts the first hours following his exposure to Gamma radiation – the very event which unleashed his raging alter-ego, aka the Incredible Hulk…

In review

Following their collaborations on Daredevil: Yellow and Spider-Man: Blue, writer Jeph Loeb and artist Tim Sale (the creative team who produced fan favourites Batman: The Long Halloween and Superman: For All Seasons for DC) reunited for another Marvel Comics limited series – Hulk: Gray, originally published in 2003/2004 as six single issues under the more mature and less creatively restricted Marvel Knights banner.

Hulk: Gray is a standalone story recounting a previously untold tale in the history of the Incredible Hulk, within the first 24 hours of Dr. Bruce Banner’s fateful exposure to Gamma radiation and his transformation into the raging gray – or “grey” – giant.  That’s right…as aficionados will likely be aware, the Hulk was originally coloured grey for his debut in 1963’s The Incredible Hulk #1 and was subsequently recoloured green due to issues with printing reproduction (although a grey version of the Hulk would later feature in Peter David’s popular run on the title).  But aside from honouring this aspect of the character’s origin, the title Gray has more of a thematic meaning as it ponders the shadier middle moral ground between black and white.  It also explores the Frankenstein parallels that have often been linked to the character – something that was there from that very first classic issue by Stan Lee and Jack Kirby.  The story is presented in a straightforward manner, weaving its ideas neatly into the narrative.

Hulk: Gray opens as a forever on-the-run Bruce Banner, mourning the death of his late beloved wife, Betty (nee Ross), on the night of their wedding anniversary, takes a brief pause to seek the counsel of an old friend, psychotherapist Dr. Leonard Samson.  Tired of being pursued and eternally haunted by his beastly alter-ego, Banner bares his soul to Samson as he recalls his earliest moments as the Hulk and how the only true salvation in his life was Betty.  Yet, as we learn, Betty’s initial encounter with the Hulk is not exactly a sympathetic one and adds to Banner’s heartbreak in the face of an inevitably irreversible change in his life.

As well as Banner’s relationship with Betty, Hulk: Gray also looks at the conflict the Hulk’s appearance incites with the U.S. Military as Betty’s father, General Thaddeus “Thunderbolt” Ross begins his relentless campaign to hunt down the creature.  What’s interesting is that Gray really conveys the sense that Ross, with his traditional air of “might makes right” (again in-line with how he was originally conceived by Lee and Kirby), is equally as raging and destructive as the Hulk, the difference being that his actions are deemed lawful and sanctioned by the U.S. government.  He may be more in control and less unpredictable than the almost mindless (or more child-like) Hulk, but the maniacal, near-psychotic Ross faithfully depicted here is proven to be just as dangerous with the resources – the “might” – at his command.

There’s still an element of hope in the story as the Hulk is not totally alone and has one person he can call “friend” (notwithstanding an unfortunately brief meeting with a desert-roaming bunny rabbit) – teenager Rick Jones, whom Banner had saved from the fallout of the Gamma Bomb test.  Gray highlights the ever-important friendship between Banner/Hulk and Rick and touches upon the burden of guilt that Rick carries as he blames himself for Banner being caught in the blast that leads to his ‘condition’.  Despite his troubles, Banner doesn’t hold his new young friend responsible and both as man and beast finds, at this point, his only trusted ally.  It underpins Banner’s inherent sense of morality and benevolence that prevents the Hulk from becoming a force of evil without removing the element of danger that accompanies an unrestrained and primal creature.

Throughout its six chapters, Gray serves up a pleasing dose of Hulk-Smash! entertainment and facilitates a secret, undocumented pre-Avengers confrontation between the formidable grey behemoth and Tony Stark’s Iron Man (with his classic early 60s bulky, golden tin-man appearance).  The desert-bound battle between the two future allies is a standout moment with Stark quickly realising that he’s bitten off more than he can chew as he’s beaten and tossed around by the Hulk.  Despite the technology at his disposal, Stark is unable to counter the threat that he and the U.S. Military have, perhaps unwittingly, provoked.

With the opening and closing of Gray taking place in the present, most of the story is told via Banner and Banner/Samson’s conversation, threaded throughout and serving as a narration.  Jeph Loeb’s entertaining script grapples onto the thematic concepts to present a poignant and thought-provoking tale of a man and a simple-minded and powerful but misunderstood monster, examining the dichotomy between the two personas and Banner’s startling revelation of why he really believes Betty loved him and stood by him for so long.

Tim Sale’s art is great and makes for a suitable accompaniment to Loeb’s script, with a classic, cartoon style that is reverential to – but exaggerates – Jack Kirby’s original visual design and which was also influenced by celebrated Hulk artist Marie Severin and her parody take on the character, ‘The Inedible Bulk’ (appearing in Marvel’s superhero spoof comic Not Brand Echh).  The use of colouring and shading is simple and effective (the black and white bookending sequences between Banner and Samson adds a touch of noir that also accentuates the central ‘grey area’ concept), creating a strong sense of atmosphere and the use of grey ink wash for the Hulk himself provides a subtle highlight that helps the iconic character standout on the page.  Whilst Sale’s style wouldn’t necessarily work as successfully in regular issues of The Incredible Hulk, the art he produces for Hulk: Gray is befitting of the pulpier approach taken by a story rooted in atomic age sci-fi.

Lovingly executed by Jeph Loeb and Tim Sale, Hulk: Gray is a salute and homage to those early tales of the Incredible Hulk crafted by Stan Lee and Jack Kirby, simply told whilst broadening the depth of a decades-old Marvel Comics icon and reiterating the core elements that make the character most appealing.

Geek fact!

Jeph Loeb and Tim Sale would team up once again in 2008 for a further ‘colour’ Marvel hero limited series – Captain America: White in which Steve Rogers recounts a special mission during World War II.

Hulk: Gray is published by Marvel Comics and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Flashback: ‘The Incredible Hulk’ TV Pilot

Marvel’s first mainstream success outside of the comic book pages landed in the late seventies with Universal’s hit television series, ‘The Incredible Hulk’…

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The late, great Bill Bixby as Dr. David Banner in ‘The Incredible Hulk’ (image credit: Universal).

Year:  1977

Starring:  Bill Bixby, Lou Ferrigno, Jack Colvin, Susan Sullivan

Directed and written by:  Kenneth Johnson (Hulk created by Stan Lee & Jack Kirby)

What’s it about?

After being subjected to an overdose of gamma radiation, Dr. David Banner finds that in moments of stress and anger he undergoes a startling transformation into a green-skinned, physically superior but uncontrollable and raging creature…

Retrospective/review

The first major live action success for a Marvel Comics property, Universal’s television series The Incredible Hulk, premiering in the U.S. in 1977 and rerun throughout the 1980s and 1990s (and now more accessible via home video releases and on demand platforms), though a more grounded take on the character continues to be beloved by fans across the globe.

Developed by The Six Million Dollar Man’s Kenneth Johnson and starring Bill Bixby and Lou Ferrigno, The Incredible Hulk would launch with a feature length pilot, written and directed by Johnson, that first aired in November of 1977.  It introduces viewers to Dr. David Banner (the change from Bruce part of Johnson’s desire to deviate from traditional comic book tropes, such as alliterative character names) a physician and scientist who having lost his wife in a car accident has focused his attention on finding a way of unlocking the enhanced physical strength that humans can display in moments of great stress.  His experiments lead to an accidental overexposure of gamma radiation (in a research lab as opposed to the Cold War era desert bomb test in the original Marvel comic), although there appears to be no ill effects, a breakdown on his drive home causes Banner to become frustrated and angry, triggering his first transformation into the goliath green-skinned creature that will become known as ‘the Hulk’.  Enlisting the help of his colleague, Dr. Elaina Marks, Banner seeks to study his condition in the desperate hope of eradicating it – requiring the pair to force another change, which leads to dramatic consequences.

Bill Bixby is superb, bringing a believable essence of intellect to Banner neatly intertwined with the innate benevolence that makes his character and performance so likeable.  In the days before CGI, green body paint was required and the elaborately muscular Lou Ferrigno would prove perfect casting as the Hulk (the transformations achieved via those iconic sequences of Banner’s shirt tearing as bulging muscles push through, together with make-up and prosthetic effects) establishing a formidable physical presence befitting the part.  Yet, despite that Ferrigno was also adept at conveying the more innocent and childlike aspects of the character – his woodland encounter with a young girl in the pilot being a prime example of the creature’s capacity for tenderness in certain moments.

Lou Ferrigno is suitably cast as Banner’s raging alter-ego (image credit: Universal).

Portraying Elaina Marks, guest star Susan Sullivan is a great addition to the episode sharing wonderful chemistry with Bixby which (spoilers…) makes her demise all-the-more heartfelt and Banner’s tragedy greater.  Also introduced is Jack Colvin’s newspaper reporter Jack McGee, a character who would recur throughout the series and who witnesses the devastating lab explosion, resulting from Banner and Marks’ experiment and the Hulk’s emergence from the wreckage – pinning the incident and the ‘murder’ of Banner and Marks on the creature.  Beyond establishing the regular cast of Bixby, Ferrigno and Colvin the pilot also features the famous, often quoted “don’t make me angry” line and Joseph Harnell’s sombre but poignant ‘The Lonely Man’ theme music, which would close out each episode.

Although it may diverge from the source material, motivated by Johnson’s concept for an adult drama series instead of a “comic book” show (in any case a more faithful adaptation would have been difficult to accomplish convincingly given technical and budgetary limitations), The Incredible Hulk still adheres to the basic approach of the comics in that Banner is driven to find a cure for his ‘affliction’ and that the Hulk itself, though dangerous and powerful has a desire to protect the innocent.

The series would subsequently see Banner, believed to be dead, drift from town to town across America, taking on odd jobs under false names as he would search for a cure whilst evading McGee, who would continue to pursue his investigations of the Hulk.  The format, often compared to that of The Fugitive, would see Banner cross paths with various people from all walks of life, facilitating stories of social concern (covering subjects such as drugs, crime and domestic abuse) and consequently troubles that Banner would find himself becoming involved in and consequentially, situations which would trigger his anger-fuelled metamorphosis and have the titular green goliath press into action.

The pilot was followed by another extended episode, “Death in the Family“, before the first full season commenced in March 1978.  The Incredible Hulk would run for five seasons before being revived for three TV movies (for which Johnson was not involved and included appearances from iconic Marvel characters Thor and Daredevil) and remains a cherished favourite amongst fans and rightfully has prominence in the history of comic book adaptations for the small screen.

Geek fact!

Richard Kiel – Jaws in the James Bond films The Spy Who Loved Me and Moonraker – was originally cast as the Hulk and although footage was shot for the pilot he was replaced by the more muscular Lou Ferrigno.

All images herein remain the property of the copyright owners and are used for illustrative purposes only.

Film Review: ‘Captain Marvel’

The MCU’s newest hero takes flight…

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Brie Larson heads up the cast of Marvel’s latest blockbuster, ‘Captain Marvel’ (c. Marvel Studios).

Spoiler-free review

Starring: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Annette Bening, Lashana Lynch, Clark Gregg

Directed by: Anna Boden & Ryan Fleck / written by: Anna Boden, Ryan Fleck & Geneva Robertson-Dworet (story by Nicole Perlman, Meg LeFauve, Anna Boden, Ryan Fleck & Geneva Robertson-Dworet / 124 minutes

What’s it about?

Granted incredible powers but left amnesiac when a test-flight of an experimental aircraft goes awry, Airforce pilot Carol Danvers is taken to the homeworld of the alien Kree where she joins them in their war against the Skrulls, which ultimately endangers Earth…

In review

With anticipation for Avengers: Endgame building and after all the marketing fanfare, Marvel Studios’ Captain Marvel arrives – but does it fly ‘higher, further, faster’? Alas, although Captain Marvel is mostly an entertaining ride it isn’t extraordinary, lacking the cultural impact of DC’s superior Wonder Woman and Marvel’s very own awards darling, Black Panther and despite a robust and appropriately heroic turn from lead star Brie Larson (Kong: Skull Island), it doesn’t do quite enough to stand out from the crowd or add anything fresh to the genre.

In Captain Marvel we’re introduced to Carol Danvers, a human gifted with powerful abilities, living as a disciplined, emotionally bereft soldier of the Kree in their war against the shapeshifting Skrulls. With no memory of her former life on Earth or the incident in which she gained her powers – ‘Vers’ is committed to the cause of the Kree but when a mission to rescue an undercover operative goes wrong, events lead Danvers back to her home where she seeks to uncover the mysteries of her past and save humanity from a Skrull invasion.

Taking into account that Captain Marvel doesn’t quite soar as much as it could (and maybe should) have, there’s still a fair amount to enjoy – as mentioned, Brie Larson is pretty much perfect casting, tackling the role of Carol Danvers/Captain Marvel (albeit not actually referred to as the latter onscreen) with a solid and assured portrayal of the Marvel Comics hero that deftly weaves in subtle strokes of comedy and an otherworldliness that adds a dash of the alien to the otherwise human Danvers. Larson plays it in more of an understated than charismatic manner, but that’s the beauty of it.

Samuel L. Jackson’s return as Nicholas Joseph Fury (or just plain “Fury”) is reliable, as we’ve come to expect, and the digital de-ageing effects employed for himself and Clark Gregg (also returning as S.H.I.E.L.D. Agent Phil Coulson) are astonishing. There’s good chemistry between Larson and Jackson making the Danvers/Fury ‘team-up’ all-the-more enjoyable, adding a slight Lethal Weapon-esque buddy component to the narrative. The always brilliant Jude Law provides a presence as Kree warrior (and Danvers’ mentor) Yon-Rogg and Rogue One’s Ben Mendelsohn brings the right mix of playful villainy to the game as Skrull general Talos, an antagonist with realistic motivations. Star-credentials are broadened further by the inclusion of Annette Bening in a pivotal role and the film’s emotional core is strengthened as Larson’s Danvers reunites with her old friend, Maria Rambeau (played by Lashana Lynch).

There’s a certain sense of empowerment that’s laudable and important but doesn’t feel as potent as it did in Wonder Woman, perhaps it’s down to the fact that DC were first out of the gate with their female lead superhero hit, or it may just be something else but it’s still a positive element of Captain Marvel.

Competently directed by Anna Boden & Ryan Fleck with a screenplay by a muddle of writers that hits all the requisite beats – action, humour (that’s not forced and actually genuinely funny in the right places), heart – Captain Marvel gets the job done, with some pleasing visuals (particularly when it comes to the Skrull shapeshifting transformations) and set-pieces, bolstered by those key cast performances together with its nifty and nostalgic mid-1990s setting, accentuated by the sight of the VHS-stacked shelves of Blockbuster Video and iconic tunes from the likes of Nirvana, Elastica and No Doubt. It also has to be noted that how Captain Marvel pays tribute to Stan Lee is touching and simply wonderful.

In the end Captain Marvel is just another superhero blockbuster, a decent if unspectacular one that’s a little formulaic but it establishes a new hero in the MCU who has great potential as we approach the end of one era and prepare for the dawn of the next.

The bottom line: an entertaining superhero blockbuster, Captain Marvel isn’t a revelation but thanks to its stars has a certain heroic appeal.

Captain Marvel is in cinemas now.

Images used herein remain the property of the copyright owner(s) and are used for illustrative purposes only.

R.I.P. Stan Lee

The Marvel Comics legend has died…

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The incomparable legend, Stan Lee (image used for illustrative purposes only and remains the property of the copyright owner).

The Pop Culture world has been shattered by the sad news of the death of Stan “the Man” Lee at the age of 95.  The founding father of Marvel Comics, Stan worked with legendary artists such as Jack Kirby, Steve Ditko and Don Heck to co-create a plethora of superhero characters that continue to be loved by millions of fans all over the globe. It all began with The Fantastic Four in 1961 when a bored Stan, on the verge of quitting comics which at that time were dominated by the crime fiction and Western genres, conceived the idea of the titular superhero team when his wife Joan (who passed away last year, also at the age of 95) urged her husband to create the kind of characters and tell the types of stories that he wanted to.  The rest is of course history and a new age of comics was born when Timely Publications evolved into the mighty Marvel where Stan served as President and despite leaving the company in 1972 he continued to be credited as ‘Chairman Emeritus’.

With the genesis of Marvel many more creations followed, including (but not limited to) the X-Men, Daredevil, Thor, the Hulk, Black Panther, Iron Man and perhaps the greatest of all the Marvel heroes: Spider-Man.  Co-created with artist Steve Ditko (who also died earlier this year), Spider-Man is the finest example of what Stan Lee strove for when writing comic books and the colourful characters within their pages – finding the human in superhuman.  By infusing these characters with the same day-to-day trials and tribulations everyone faces, Stan presented stories that were relatable and more relevant to the reader whilst providing hope as the extraordinary people he wrote about surmounted their problems.

Whilst Lee and Ditko parted ways acrimoniously, with Ditko feeling Lee had downplayed his contributions in the creation of Spider-Man, Stan Lee always spoke fondly and respectfully of the artists he worked with and his love for, and work in, the comic book medium together with his boundless and passionate devotion to the fans helped shape the Pop Culture landscape as we know it today.

With Marvel superheroes being more popular than ever, in no small part thanks to the success of the Marvel Cinematic Universe (in which Stan would regularly make cameos in the various Marvel films, his many appearances commencing with 20^th Century Fox’s pre-MCU X-Men feature film in 2000), Stan Lee’s legacy will live on for decades to come and most likely, beyond.

Stan Lee died 12th November 2018 aged 95.

TV Review: ‘Daredevil’ – Season 3 Premiere

The Devil is reborn as Netflix return to Hell’s Kitchen for a new season of Marvel’s ‘Daredevil’…

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The Devil is back as Charlie Cox returns for season 3 of Marvel’s ‘Daredevil’ (image credit: Marvel/Netflix, used for illustrative purposes only).

 

Spoiler-free review

Starring:  Charlie Cox, Deborah Ann Woll, Elden Henson, Joanne Whalley, Vincent D’Onofrio, Jay Ali, Peter McRobbie

Series created by:  Drew Goddard (Daredevil created by Stan Lee and Bill Everett)

Written by:  Erik Oleson / episode directed by:  Marc Jobst

What’s it about?

Recovering after facing near death in his battle against the Hand, Matt Murdock decides that it’s time for the Devil of Hell’s Kitchen to return…

Episode review

Just as Netflix announce the unfortunate cancellation of Marvel shows Iron Fist and Luke Cage, their first hit series returns for its third season.  Daredevil is arguably the best of the Netflix/Marvel ventures and the premiere for its new season takes an expectedly slow-burn approach that is non-the-less an interesting beginning.

In the wake of The Defenders, the final moments of which we learnt that Matt Murdock somehow survived the devastation of his final battle with the Hand (and how he escaped death is revealed but not dwelt upon), “Resurrection” finds Murdock broken, worn down and in the care of Sister Maggie (Joanne Whalley) as he attempts to recover physically and spiritually.  His senses dulled and his soul crushed, it’s been a bumpy road for Murdock who feels he only has purpose as the Devil of Hell’s Kitchen and it’s time to emerge from the torment of his own personal damnation.

Charlie Cox, as always, is great and we feel every inch of Matt Murdock’s pain in mind and body.  Cox’s scenes with Joanne Whalley are a particular standout as Murdock bears his soul to the Sister who was a mother figure of sorts to the once young boy who had just lost his sight and his father.  There’s also guidance and support from Peter McRobbie’s Father Lantom which adds further dramatic layers to Murdock’s struggle.

Meanwhile, Karen and Foggy continue to deal with the aftermath of their ‘loss’ albeit in different ways – Karen holding on to the hope that Matt is alive and will return, whilst Foggy has chosen to accept that his best friend is gone and move on with his life as best as he can.  Although Deborah Ann Woll and Elden Henson don’t get a whole lot to do in this episode, both actors slip back into their roles with ease and are as effective as they’ve ever been.

Daredevil would of course not be the same without Vincent D’Onofrio as Wilson Fisk and “Resurrection” makes room to revisit the deposed Kingpin, dejected as he continues to languish in prison.  D’Onofrio is reliably intense and it seems Fisk is being positioned for a powerful comeback that will undoubtedly once again draw battle lines on the streets of Hell’s Kitchen.

Visually it’s the usual high standard for Daredevil, the use of sound and lighting married with beautiful photography giving the series that cinematic quality we’ve come to expect and appreciate.  The fight choreography is also top-notch and is quite brutal, but with dramatic resonance – especially in those scenes in which Murdock submits himself to a sparring match in an attempt to re-focus his senses.

Ultimately it is a slow start, which is par for the course with the Marvel/Netflix series, but writer Erik Oleson (who replaces Marco Ramirez as showrunner) puts the pieces firmly in place and sets this latest chapter of Daredevil on a thematically interesting path.

The bottom line:  the latest season of Daredevil gets off to an interesting start with strong acting performances, engaging character work and rich visual aesthetics.

All 13 episodes of Daredevil season 3 are available to stream now via Netflix.

Flashback: ‘Iron Man’

Ten years ago, a certain cinematic universe was born…

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In the beginning: Robert Downey Jr and Jeff Bridges head-up the cast of Marvel Studios’ ‘Iron Man’.

Starring:  Robert Downey Jr, Jeff Bridges, Terrence Howard, Gwyneth Paltrow, Shaun Toub, Faran Tahir, Clark Gregg

Directed by:  Jon Favreau / Written by:  Mark Fergus, Hawk Ostby, Art Marcum & Matt Holloway / 2008

What’s it about?

After escaping captivity and near-death in Afghanistan, weapons manufacturer Tony Stark builds a hi-tech armoured suit and embarks on a mission to thwart evil…

Retrospective

A surprise hit back in 2008, Iron Man was not only the first theatrical release for Marvel Studios but the Big Bang of the multi-billion dollar grossing Marvel Cinematic Universe.  A decade later, it’s hard to imagine that a feature film adaptation of one of Marvel’s lesser known (the rights to the likes of Spider-Man and X-Men held by Sony and 20^th Century Fox, respectively) characters was considered a huge gamble and had the fate of a potential film franchise weighing heavily on its shoulders.

Produced by Marvel Studios and distributed by Paramount Pictures (Disney’s purchase of Marvel would take place in 2009), Iron Man would take the Howard Hughes inspired character created by Stan Lee and Larry Lieber together with artists Don Heck and Jack Kirby (first appearing in Tales of Suspense #39, published in 1963), place him in the 21^st Century and meld the core elements of billionaire playboy industrialist Tony Stark with the performance of lead star Robert Downey Jr.

An inspired casting choice, the once troubled Downey Jr was able to channel his demons into the role of Tony Stark – a character who had plenty of personal struggles in the comics – and turn in a performance that balances wisecracking quips with some hearty introspection.  Downey Jr is certainly a strong point and although this interpretation of Tony Stark differs somewhat to the more broody version comic book readers would be used to up to that point (writers such as Matt Fraction and Brian Michael Bendis leaning him more towards the lighter, playful big screen version in subsequent runs), it’s a take that fits with what Marvel were seemingly going for with Iron Man – a colourful, fun action film with nuances of maturity, tucking in themes of redemption as the film’s protagonist seeks a more heroic and morally justifiable path.  When we first meet Stark, CEO of weapons manufacturer Stark Industries, he’s not the most likeable of people – a carefree and careless egotist who likes to drink, gamble and womanise in equal measure.  Yet, over the course of the film we grow to care for Stark as he reflects on errors of the past and embarks on his journey to becoming ‘Iron Man’.

 

Robert Downey Jr: inspired casting for ‘Iron Man’.

The plot of Iron Man is fairly straightforward and functions well as an origin story and although it lacks the sophistication and artistry of Christopher Nolan’s Batman Begins it’s entertaining and gets the job done.  Updating the Vietnam-era setting of Iron Man’s comic book debut to that of post 9/11 Afghanistan, Tony Stark is gravely injured by one of his own weapons and captured by militants where his life is saved by fellow prisoner Yinsen (Shaun Toub) who fits an electromagnet to Stark’s chest, preventing deadly shards of shrapnel from piercing his heart.  Put to work on constructing a missile, Stark instead builds an armoured suit, powered by a refined version of the electromagnet and escapes.  Having witnessed the horrors of war and how his weapons could be used for untold evil, Stark returns home with a change of heart, announcing the end of munitions manufacturing at Stark Industries, to the reticence of Obadiah Stane (Jeff Bridges).  Frozen out by the rest of the board, Stark develops a new iteration of the armoured suit and sets out to destroy the cache of stolen weapons being utilised by the very terrorist group who held him captive.  Meanwhile, Stane has other plans for the future of Stark Industries and will stop at nothing to realise them.

Downey Jr is ably supported by Gwyneth Paltrow’s ‘Pepper’ Potts, Tony Stark’s trusted, often frustrated, assistant who non-the-less is always at her boss’s side.  Paltrow is solid in the part, gifted with some plucky lines and it’s only bolstered by the easy chemistry between herself and Robert Downey Jr.  Adding further to the star-power is Academy Award nominee Terence Howard, who makes his only appearance as Tony’s friend and military liaison to Stark Industries, Lt. Colonel James ‘Rhodey’ Rhodes.  Grumbles over pay negotiations for the sequel would lead to Howard being replaced by Don Cheadle, who continues in the role to today.

As the big bad, Jeff Bridges brings gravitas to the role of Obadiah Stane elevating it above something that could’ve easily come off as too pantomime in less capable hands, resulting in one of the more memorable Marvel film villains.  Stane’s increasing mania as he builds an exo-suit of his own is fun to watch, leading to an explosive finale as Stark dons the Iron Man armour to face off against Stane and his formidable ‘Iron Monger’ suit.

Tony Stark takes flight in the Mark III Iron Man armour…

Director Jon Favreau (who also appears as Tony Stark’s driver, ‘Happy’ Hogan) keeps things energetic and exciting, delivering slick spectacle without sacrificing the smaller and more intimate character moments.  The film’s design is commendable, the highlight of which is the Iron Man armour itself.  Based on the designs of comic book artist Adi Granov and created using a mixture of CGI and practical elements – implemented by the legendary Stan Winston Studios – it’s a faithful translation of the red and gold future Avenger from the four colour pages to the silver screen.

Iron Man remains a highly enjoyable watch, whilst Tony Stark’s Avengers outings are generally stronger and the character, along with Robert Downey Jr’s continued success in the part, has grown and matured.  The film’s positive reception cemented the plans of Marvel Studios for the Marvel Cinematic Universe (the wider superhero world teased by the inclusion of Clark Gregg as S.H.I.E.L.D. Agent Phil Coulson and a post-credits appearance by Samuel L. Jackson as the organisation’s director, Nick Fury) and instilled Marvel with the confidence to adapt other lower-tier comic book properties such as Guardians of the Galaxy, Ant-Man and Doctor Strange all of which would be well received by audiences and critics alike.

Geek fact!  An Iron Man feature film had lingered in development since the 1990s, with superstar Tom Cruise at one point mooted as a possible candidate for the lead role.

All images contained herein belong: Marvel Studios and used for illustrative purposes only.

 

Film Review: ‘Doctor Strange’ (spoiler free)

Mighty Marvel casts its spell…

Starring:  Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Tilda Swinton, Mads Mikkelsen.

Directed by:  Scott Derrickson / Written by:  Jon Spaihts, Scott Derrickson & C. Robert Cargill / 115 minutes

What’s it about?

His hands mangled in a car crash, brilliant neurosurgeon Stephen Strange’s career is seemingly over.  Exhausting all surgical efforts to repair his injuries, Strange travels to a place called Kamar-Taj where an encounter with a mysterious figure sees him thrust into the world of the mystic arts…

In review

With the runaway successes of Guardians of the Galaxy and Ant-Man, Marvel Studios have proved adept at bringing lesser and more obscure comic book properties to the big screen and in a manner that manages to please fans and regular audiences alike.  Doctor Strange would immediately seem a far trickier and more daring gamble than those previous hits but for the most part, Marvel Studios succeed once more.

Based on the Marvel comic books by Stan Lee and Steve Ditko, the journey of neurosurgeon Doctor Stephen Strange from arrogance to fall from grace and eventual redemption may be a little clichéd but via the film’s exploration of magical abilities and mystic realms there lies another dimension to the storytelling that opens up the possibilities for future Marvel Studios productions.  It’s fair to say in that sense that this makes the “Sorcerer Supreme” an important character as the looming apex of Avengers: Infinity War approaches.

In the role of Stephen Strange, Benedict Cumberbatch makes for a strong lead and although for some it may take a little time to adjust to his American accent, the Sherlock and Star Trek Into Darkness star laps up the material handed to him in a performance that’s impassioned, witty and by the end of it all, noble.  Seemingly the requisite love interest, Rachel McAdams is somewhat underserved as Christine Palmer although she does share some vital scenes with Cumberbatch that helps the audience become more invested in the character and his arc throughout this origin story.

Tilda Swinton is wise and otherworldly as the enigmatic Ancient One and co-stars Chiwetel Ejiofor and Benedict Wong fit nicely into the mix as fellow sorcerers Mordo and Wong respectively.  As the main antagonist, Mads Mikkelsen’s Kaecilius – a former pupil seeking to unlock the secrets of dark magic –  has some great moments, rising to the challenge of being pitted against the talents of Cumberbatch and Swinton but is ultimately less memorable than Hugo Weaving’s Red Skull (Captain America: The First Avenger) or James Spader’s Ultron (Avengers: Age of Ultron).

There’s a slight over reliance on humour at times, parts of it are welcome relief but some moments feel forced, included merely for the sake of it and arguably undermine several key scenes that would have benefitted from a more dramatic tone.  Where Doctor Strange really excels is via its jaw-dropping, kaleidoscopic visuals as director Scott Derrickson intertwines influences of Escher with the cinematic awe of Inception and the mesmerising psychedelia of 2001: A Space Odyssey that bring the trippy imaginings of Messrs. Lee and Ditko breathtakingly to life.  The extra expense of an IMAX 3D ticket is fully warranted for the fullest possible immersion in the mind-bending spectacle of folding cityscapes and unravelling astral planes.

Ultimately it’s the visual elements that gloss over the overall flaws in the tone and narrative of Doctor Strange but there’s no denying the charm of Benedict Cumberbatch’s performance and the potential of further adventures of Marvel’s Master of the Mystic Arts.

The bottom line:  Despite some formulaic elements and jarring moments of silliness, Doctor Strange is a reliably entertaining and visually stunning addition to the Marvel Cinematic Universe.

Doctor Strange is screening in UK cinemas now and opens in the US and worldwide from 4^th November.

Benedict Cumberbatch confidently leads Marvel Studios’ ‘Doctor Strange’.