Tag Archives: Kevin Feige

Peter’s To-Do List (2019, Jon Watts)

Peter's To-Do List is some next level lazy. It’s an “all-new” short film included on the Spider-Man: Far From Home home video releases. It’s actually just a montage mostly cut from the movie; better yet, the footage also appears in the deleted scenes section of the disc. There are no opening titles, no end credits, nothing new.

But it’s a good montage. It’s not like it’s at all bad, it’s well-made, It’s funny, it moves well. It’s just not “all-new.”

And it’s not particularly essential. Or even inessential. The important stuff from List do appear in the movie proper, so it’s just like… why. Well, I get why—Sony has a long history of aggrandizing deleted scenes to create special features (including extended versions of the movie made without filmmaker involvement, just reinserting deleted scenes).

Where To-Do List is… potentially interesting is in its positioning and promotion. “All-New Short Film” is a claim and a promise. To-Do List fails the claim but maybe not the promise. It’s Tom Holland being adorable as he goes around trying to get ready for the Far From Home part of the movie. He’s got a list of errands to run, culminating in taking down a bunch of gangsters. That sequence is rather good—and it’s impressive to see how, even in under four minutes, Holland and the filmmakers are able to maintain this consistent tone between Holland’s mundane tasks and his technologically accelerated fisticuffs with bad guys.

Tack on some titles, some credits (which would be difficult, I imagine, because then they might owe residuals), To-Do List would almost be “all-new.” With the right titles and credits anyway.

It’s even lazier than the old “Marvel One-Shots,” which was a series of short home video exclusives mostly made out of cut scenes and Clark Gregg shooting inserts. That series eventually got better. But I don’t think even the laziest one was as lazy as To-Do List.

I mean, technically it’s Recommended but only because it’s an incomplete. Hell, throw on a teaser for the rest of the movie and it’s basically a concept trailer. Instead, it’s a short mid-quel (defined by Petrana Radulovic as “side adventures taking place during the events of the original film”), just made out of cut footage….

So lazy.

But an amusing three and a half minutes.

2/3Recommended

CREDITS

Directed by Jon Watts; screenplay by Chris McKenna and Erik Sommers, based on the Marvel comic book by Stan Lee and Steve Ditko; director of photography, Matthew J. Lloyd; edited by Dan Lebental and Leigh Folsom Boyd; music by Michael Giacchino; production designer, Claude Paré; produced by Amy Pascal and Kevin Feige; released by Sony Pictures Home Entertainment.

Starring Tom Holland (Peter Parker), Jacob Batalon (Ned), and Hemky Madera (Delmar).


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Doctor Strange (2016, Scott Derrickson)

The only particularly bad thing in Doctor Strange is the music. Michael Giacchino strikes again with a bland “action fantasy” score. The score feels omnipresent; I’m not sure if it really is booming all throughout the film or if I was just constantly dreading its return.

Dread is something in short supply in Doctor Strange. The film opens with Mads Mikkelsen’s ponytailed bad guy doing some visually dynamic magic. The world becomes a moving M.C. Escher piece, with lots of tessellation. While visually dynamic, these magical reconfigurations of the world don’t affect regular people and don’t really change the fight scenes much. The reconfigurations happen aside from the principals’ actions. Most of that action is white people doing questionable kung fu fighting with magic assists.

Director Derrickson embraces the long shot and the extreme long shot to do his action. The camera’s never close enough to reveal whether Tilda Swinton really did all her kung fu fighting. She definitely did her melodrama scene though. It’s a special thing, a melodramatic scene in Strange, the film utterly avoids using them. Lead Benedict Cumberbatch’s character development is done without them. Sure, when he’s despondent over his injured hands after a car crash, there’s a little melodrama. But not once he starts his journey.

Cumberbatch gives up on conventional medicine–he was the only surgeon good enough to fix his hands–and heads to the Far East. He’s looking for a magical fix. He finds it with Swinton and company. Swinton’s the leader, a near immortal sorcerer with a shaved head. Chiwetel Ejiofor is her main lackey. He gets the job of training Cumberbatch when the movie takes time for a training scene. Until Cumberbatch gets the magic; after he gets the magic, he’s got all the magic. No one seems to notice he goes from novice to sorcerer supreme in three minutes.

They’re too busy trying to save the world. Jon Spaihts, Derrickson, and C. Robert Cargill’s script is long on exposition, short on thoughtful plotting, even shorter on character development. Ejiofor gets it the worst. He’s in the movie more than anyone else in the supporting cast, but he never gets a character. Not until the third act and then it’s just a contrivance.

Rachel McAdams is in the movie less than Ejiofor, with a lousy part. The screenwriters seem to think Cumberbatch needs a romantic interest of some sort. She doesn’t have anything going on besides doting on Cumberbatch, whether she likes it or not.

Many of the performances improve over time. Swinton’s far better later on than at the beginning. Mikkelsen is bland at the open only to end up saving the middle portion of the film. He and Cumberbatch have some banter. The banter keeps things going given the CG spectacular isn’t ever spectacular when it needs to be. Cumberbatch, for instance, is only ever a passive party when not doing CG spectacular by himself.

Eventually Cumberbatch starts getting into ghost fights. Fighting when a ghost on the spirit plane. The ghost fights are simultaneously well-executed–something of a surprise as Derrickson and photographer Ben Davis don’t seem to care at all about the CG compositing being weak–and boring. The visual concept for the astral plane kung fu fights is good. The special effects realize it perfectly well. Derrickson just can’t direct fight scenes. So the scenes get old fast. Especially when they’re distracting from Mikkelsen.

Mikkselen’s essential for keeping it going in the second act. He and Cumberbatch’s banter has more character development for Cumberbatch than his entire mystical training.

Cumberbatch is entirely bland in the lead. He’s more believable opening portals to mystical dimensions and having showdowns with ancient intergalactic evil beings (who look a like the MCP from Tron, only without any enthusiasm in CG) than he is being the world’s best surgeon, who also knows more seventies music trivia than anyone else. His voice is flat and without affect; he’s trying not to lose his American accent. Unfortunately, it affects his performance.

It’s unlikely McAdams and Cumberbatch are going to have any emotionally effective scenes, but at least if Cumberbatch were concentrating on responding to her lines and not making sure he never sounds British… well, it might have helped. Both actors are completely professional opposite one another, but there’s zero chemistry. Wouldn’t really matter if there were any chemistry, as McAdams is only around for medical emergencies.

The film moves well once it gets to the second act. Cumberbatch moping is a little much; his performance doesn’t have any nuance. Maybe it did on set, but if so, Derrickson goes out of his way not to shoot it. Long shots, extreme long shots, bad expository summary sequences. Derrickson plays it completely safe. Even when Doctor Strange gets visually fantastic, Derrickson rushes it along so there’s not time to regard that fantastic.

Anyway, once Cumberbatch starts doing magic, it picks up. Then he runs into Mikkelsen and the film improves big time. Of course, then the third act is a mess and Mikkelsen’s villain level gets downgraded. The action finish is also contrived in just a way to keep Derrickson from having to direct anything too complicated. His action is like watching a video game cut scene. One where you aren’t worried about any of the characters being in danger.

And the cape stuff is good (Cumberbatch gets a magic cape once he’s a wizard). And Cumberbatch and Benedict Wong are almost good together.

Doctor Strange’s lack of ambitions, narrative or visual, hurt it. But the script and Derrickson’s disinterest in his actors hurt it more. Still, it’s usually entertaining. It could definitely have been worse. Cumberbatch’s lack of personality probably helps Doctor Strange. The film wouldn’t know what to do with any.

1/4

CREDITS

Directed by Scott Derrickson; screenplay by Jon Spaihts, Derrickson, and C. Robert Cargill, based on the comic book by Stan Lee and Steve Ditko; director of photography, Ben Davis; edited by Sabrina Plisco and Wyatt Smith; music by Michael Giacchino; production designer, Charles Wood; produced by Kevin Feige; released by Walt Disney Pictures.

Starring Benedict Cumberbatch (Dr. Stephen Strange), Mads Mikkelsen (Kaecilius), Tilda Swinton (The Ancient One), Chiwetel Ejiofor (Mordo), Rachel McAdams (Christine Palmer), and Benedict Wong (Wong).


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All Hail the King (2014, Drew Pearce)

It's too bad All Hail the King wasn't the epilogue to Iron Man 3. It's a continuation of Ben Kingsley's story from that film and it's the best thing out of Marvel. At fourteen minutes.

Writer-director Drew Pearce only has three scenes in the film–he uses a montage opening to establish, so maybe three and a half. He gives Kingsley a bunch of great lines and a fantastic plot. It eventually follows up on elements from all three Iron Man movies. It's a humorous wink at the idea of dropped subplots and forgotten supporting characters.

In addition to the dialogue and the acting–Scoot McNairy and Lester Speight are also great–Pearce's direction is outstanding. He has numerous jokes throughout, often letting them develop from a dramatic situation. That approach works perfectly with Kingsley's British stage boob.

While it's a showcase for Kingsley, it's equally one for Pearce. King is near perfect.

3/3Highly Recommended

CREDITS

Written and directed by Drew Pearce; director of photography, Michael Bonvillain; edited by Dan Lebental; music by Brian Tyler; production designer, Shepherd Frankel; produced by Kevin Feige; released by Disney Home Video.

Starring Ben Kingsley (Trevor Slattery), Scoot McNairy (Jackson Norris), Lester Speight (Herman), Sam Rockwell (Justin Hammer), Matt Gerald (White Power Dave), Allen Maldonado (Fletcher Heggs) and Crystal the Monkey (Bar Monkey).


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Agent Carter (2013, Louis D’Esposito)

Agent Carter is a terrible execution of a nice idea. The short is supposed to follow-up on Hayley Atwell’s character after the Captain America movie. A post-script for a supporting character… love that idea.

Sadly, Carter wastes most of its runtime. The first minute is a recap from the movie, the end credits are three and a half minutes or so (of a fourteen minute short)… Atwell eventually plays second fiddle to stunt casted Bradley Whitford. Whitford plays her sexist boss (it’s the forties after all).

There are other returning Captain America cast members, but director D’Esposito and writer Eric Pearson save them for more stunt moments at the end.

The idea Carter ends on–what’s next for Atwell and her sidekicks–would make a fun movie. Except this short’s it. There’s just the promise next time it’d better.

It’s a shame too. Atwell does well with nothing.

1/3Not Recommended

CREDITS

Directed by Louis D’Esposito; written by Eric Pearson; director of photography, Gabriel Beristain; edited by Peter S. Eliot; music by Christopher Lennertz; produced by Kevin Feige; released by Disney Home Video.

Starring Hayley Atwell (Peggy Carter), Bradley Whitford (Agent Flynn), Tim Trobec (Hefty Guard) and Dominic Cooper (Howard Stark).


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