The career of this filmmaker in front of a shoot began badly with the fifth installment of the saga, failed from the beginning, which adapts The Hellbound Heart, a novel written by the British Clive Baker and whose first transfer to the big screen, made by him It became a cult film for certain lovers of terror and gore. Hellraiser: Inferno (2000) was the title of Derrickson's contribution, co-hosted with his usual Paul Harris Boardman. And several years had to go by for his next finished project, The Exorcism of Emily Rose (2005), which mixes the horror of supernatural dyes with a judicial drama.
Then he dared with the remake of a science fiction classic directed by Robert Wise in 1961, and he got the weak but acceptable The Day the Earth Stood Still (2008). And one of his works that moviegoers remember is Sinister (2012), whose script he wrote with C. Robert Cargill and that was his convincing return to the horror genre, which he did not abandon for the film he decided to take on later, Deliver Us from Evil (2014), his second contribution on demonic possessions.
Having said all this, what we can see with clear clarity is that Derrickson is crazy about fantastic narratives, that is, those in which his elements cannot be found in the real world and, then, come from universes with imaginary rules that challenge precisely the way we know that nature works. These same concepts are capital in Doctor Strange, not only in the configuration of the fabulous environments that he shows us, but also because they constitute a good part of the essence in the evolution as a character of the protagonist, the arrogant neurosurgeon Stephen Strange, who discovers with great amazement that there is something beyond their own noses in various aspects.
And not only so, but these ideas are directly and verbally raised in the film, so Derrickson and his co-writer, Jon Spaihts and again Cargill, have proven very aware of the foundations of the story they tell us, and of its substantial characteristics in a larger generic framework. So that later they say that commercial cinema is done without reflection and in four kicks.
Sitting down to see the adaptation of Doctor Strange, a character created by Stan “Cameos” Lee and the cartoonist Steve Ditko who saw the light in July 1963 on the pages of Strange Tales, is a guarantee that one will enjoy entertainment solid, sustained and propped up with extraordinary images and a sense of humor that slides naturally through the ins and outs of adventure. Nothing of an unusual depth, after all we are talking about Marvel, but always a dignified and respectful narration with the spectators, which is already very much appreciated as is the patio.
But, above all, it is one of the most interesting stories of the Marvel Cinematic Universe, which expands it greatly and helps us understand how this cosmos really is in which all these superheroes and the terrible villains swarm against each other. In addition, not only does Doctor Strange integrate very well in the dark plot that has developed between the MCU films, leading the future two parts of Avengers: Infinity War (Joe and Anthony Russo, 2018, 2019), but he himself may become the most powerful ally of the Avengers according to the incredible capabilities he possesses.
The production design is splendid, reinforced with digital effects that take away the hiccups, although the fact that the mobility of buildings and cities is quite reminiscent of what we had already seen in Inception (Christopher Nolan, 2010) reduces the strength of the whole.
The fact is that, despite the mentioned weaknesses of Doctor Strange, Marvel Studios has returned to give us a good work framed in his Universe, his energy and conviction surpass these weaknesses.