It’s darkly funny that Doctor Strange in the Multiverse of Madness hit theaters over Mother’s Day weekend. Without spoiling too much, the driving force of the movie is Elizabeth Olsen/Scarlet Witch’s grief after the events of WandaVision and the lengths she’ll go to be a mom to her kids Billy and Tommy.
This leads her to some very dark places, not that you’d think so in this adorable (but also slightly creepy) picture posted by Billy actor Julian Hilliard:
Anyone who’s seen the movie will know that Wanda takes the concept of family very seriously, with the streak of blood down her face here adding a very creepy element to the image. Hilliard (and Tommy actor Jett Klyne) are great in the movie as Wanda’s kids, particularly when they start to realize their beloved mom might not be quite who they think during the “dreamwalking” sequence.
It’s unknown whether Billy and Tommy will reappear in the MCU. While their comics counterparts Wiccan and Speed have gone on to have long superhero careers, the events of the film may relegate them to alternate dimensions rather than the core MCU.
Then again, in the comics, Billy and Tommy have a very complicated magical backstory and have been deleted and brought back into existence a couple of times over the years. Plus, with the MCU now full of multiple afterlives, evil books, and various kinds of crazy magic, the possibilities are open for pretty much anything.
Doctor Strange in the Multiverse of Madness is now in theaters.
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New Zealand head coach Gary Stead, revealed that Henry Nicholl batting stalwart had sustained the injury to his right leg at the pre-tour camp in Mount Maunganui
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2001’s Spy Kids is a low-key classic. Prior to this, director Robert Rodriguez was known for his violent action movies, but somehow he managed to maintain his distinctive style even when making a movie for kids. Now the first movie is getting a moment in the sun on social media, with a short clip picking up a ton of praise.
This is the flashback to Antonio Banderas’ Gregory and Carla Gugino’s Ingrid falling in love and getting married, which basically crams a whole damn rom-com into two minutes (plus a helicopter action scene!). It’s a masterclass of quick storytelling, editing, and acting. Check it out:
Fortunately for all the nostalgic fans, Spy Kids will return soon. In March, we learned that Netflix is teaming up with Skydance and Robert Rodriguez for a reimagined new entry. The last entry was 2011’s Spy Kids: All the Time in the World, which didn’t live up to the quality of the original movies. However, things improved with Netflix’s 2018 animated show Spy Kids: Mission Critical, which bodes well for the future.
Here’s hoping the new version comes back with a bang and that Rodriguez can capture the same magic that made the original so special.
Spy Kids is available to stream at the usual places. More on the new entry as we hear it.
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Boucher, a former wicketkeeper batter, was charged with racist behaviour and also faced possible sacking from the coaching post, after he was accused by ex-South Africa teammate Paul Adams of singing a song which had racially derogatory wording in meetings after matches in their playing days.
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In Everything Everywhere All At Once, we follow Chinese-American laundromat owner Evelyn Wang, who is recruited to save the universe from an incoming multiversal threat. As she leans into the power and skills of her alternate self from other dimensions, she learns more about herself and her family. The chaotic genre-jumping spectacle manages to pull a wide range of elements together around a powerful emotional core, delivering a hilarious and deeply affecting two hours.
This film is built around two phenomenal performances from Michelle Yeoh as Evelyn, and Stephanie Hsu as her daughter Joy. Yeoh shows an incredible amount of range, and while we’re used to seeing her as a badass fighter in shows like Star Trek: Discovery or her many martial arts movie appearances, it’s rarer (especially in her Western work) for her to be able to show real vulnerability.
She also feels remarkably normal, in that you completely buy she’s only just about making it through life, with the biggest threat she faces being the IRS. Still, she owns the action hero moments as she embraces her newfound abilities, but it’s nonetheless a gradual process where the badassery feels earned – when she punches someone in the face, she still winces at the impact.
Image via A24
The counterpoint to Yeoh’s strained restraint is Hsu, who gets to be cool in a different way. As the reality-hopping shenanigans occur, she gets some incredible outfits designed by Shirley Kurata, carrying them with confidence and presence. At the same time, the moments where she’s desperately trying to connect with her mother (a distance in part caused by the family’s homophobia), are deeply emotionally affecting. The pain she exudes throughout is palpable, even just in the tone of her voice as she tries over and over to get her mother to listen.
When the pair are together on screen, it’s like all the chaos slips away, and you’re focused solely on the struggle of their strained relationship at the heart of the picture. Other performers also do great jobs, most notably Ke Huy Quan as Evelyn’s endearing, bumbling, but good-hearted husband Waymond. The combination of his performance and the script give the role a surprising amount of depth – particularly in the back half. Jamie Lee Curtis also gives a drily fun turn as a scene-stealing auditor, while the broader ensemble all play their bit-parts with just the right amount of heightened, light-hearted silliness to make it work.
Everything’s irreverent humour continues in the incredibly imaginative conception of what can be done with the boundless possibilities of infinite parallel worlds. There are very outlandish universes like the already-famous one where humans evolved to have hot dog fingers, and while this is played largely for laughs, these worlds get a deeper exploration than you would expect.
Image via A24
Writers and directors Daniel Kwan and Daniel Scheinert, collectively known as Daniels, additionally provide some striking homages to other works, particularly Wong Kar Wai’s sweeping romances and traditional martial arts cinema. Somehow, these wildly different styles are executed sharply by director of photography Larkin Seiple, with the aspect ratios and color grading being manipulated to make this work. It’s as if they took the lovingly-crafted pastiche style that the likes of Edgar Wright and Quentin Tarantino specialize in, but gave it a beating heart.
In spite of all the constantly-moving insanity, there’s still an impressively persistent emotional core to everything that unfolds and remains continually reinforced, particularly in relation to the lead performers. This is a film about finding love and connection when you’ve been ground down. Even the bizarre hot dog-handed world gets to have its own deep moments that will likely make you cry. At times, it can feel a little too eager to tie up its own loose ends without giving the invocation of heavier subject matter time to breathe, particularly surrounding the family’s alienation of the queer daughter. However, there’s an earnestness which means that even the oversimplified emotional beats hit hard.
Everything Everywhere All At Once understands that the world is infinitely big and scary, and that we often feel like we are the worst versions of ourselves. And yet, it manages to effectively advocate for us to keep going, to seek the connections and moments that make life worth it. From the irreverent humour to homages via several standout performances, we are reminded that in a world where it feels like nothing matters – we have to find those little moments to live for.
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