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Benedict Cumberbatch

SF Radio 8.24: Bending our Minds Around DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS

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Directed by Sam Raimi, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS opens up the MCU in incredible (and horrifying) ways. When a new threat calls the good Doctor and his new companion, America Chavez, to jump from universe to universe, they enlist the help of Wanda Maximoff in an effort to get things under control. However, they very quickly discover that Maximoff may herself be the very threat they’re attempting to prevent from ripping apart the multiverse. This week, Dina Hamdieh and Miriam Ibrahim return to discuss the ramifications for Universe 616, the evolution of Scarlett Witch and why we care about the multiverse.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Doctor Strange and the Multiverse of Madness: Emphasis on the Madness

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Have you ever had regrets in your life or made decisions that you wish you could’ve done differently? 

Now, what if you had the opportunity to go to any possible reality that you can think of? A place that would allow you to change anything that you’ve ever done or have whatever life you want. For those who struggle with guilt or shame, the idea would be very tempting.

Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Following the events of Spiderman: No Way Home and WandaVision, Doctor Strange and the Multiverse of Madness takes us on a trip through the horrors and wonders of the multiverse. With the universe seemingly falling apart Doctor Strange (Benedict Cumberbatch), Wong (Benedict Wong), and Wanda Maximoff (Elizabeth Olsen) take on threats they’ve never faced before. In the wildest MCU movie to date, Multiverse really opens up the Madness of the live-action cinematic universe that Marvel has spent so long developing.

Directed by Sam Raimi, the creativity of the film is spectacular. Although the first Doctor Strange began to feel like an acid trip in places, the reality jumping that happens in Multiverse is absolutely nuts. Ranging universes of animation to one of paint, Raimi makes good use of the opportunity to push the boundaries of the MCU. (For what it’s worth, Marvel’s What If series is a good primer that prepares the viewer for all the different possible realities that the MCU can give us.) 

A scene from Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios 2022. ©Marvel Studios 2022. All Rights Reserved.

Without question, this is the bloodiest MCU film to date. In fact, by leaning into its horror potential, Multiversebecomes not only becomes the first to attempt this style from the MCU, but the first successful attempt in the genre. (BrightBurn doesn’t count…) With her powers finally unleashed, Wanda is perfect at being horrifying. Broken by the loss of her kids in WandaVision, Wanda has become increasingly unstable as she pushes to get what she wants. Covered in blood and performing reality-bending witchcraft, she becomes almost an unstoppable ghost. (It’s worth noting that the magic fighting has also become more creative. For example, Wanda’s fight with the Illuminati is just horrific and beautiful at the same time.)

One of the best additions to the franchise is their new character America Chavez (Xochitl Gomez), a young girl from another universe who can travel through dimensions. Bringing great banter with Strange that balances out his seriousness and cool powers of her own, she’ll likely be key to setting up any major multiverse related stories in the MCU. 

(L-R): Xochitl Gomez as America Chavez, Benedict Wong as Wong, and Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Personally, I also really am noticing and appreciating Marvel’s diversity initiative as well. Despite the controversy created by the fact that that America Chavez has 2 moms, Marvel continues to push forward towards inclusion. Handling her story with love by showing her parents and treating it as “normal” was great. It really normalizes same-sex marriage and I respect Disney for not cutting it out.

As they reach infinite possibilities for stories and universes, the overarching theme within Multiverse is the idea of regret and coming to terms with that decisions that we’ve made so that we can move on. In many ways, the journeys of both Doctor Strange and Wanda parallel each other throughout the film. Unable to accept her actions in Westview (see WandaVision), Wanda wants to find a reality where she can really have the family and life that she has always wanted. [Potential Spoiler] For her, the quest is so important that she’s willing to go out of her way to steal another version of herself in order to find the reality that she wants. [Spoilers end]

Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

At the same time, Doctor Strange’s regrets stem from a deeply personal loss that took place during the Blip. Similar to Wanda, his guilt consumes him, pushing him to become something sinister. As a result, both are living unhappily and are willing to take the lives of others in order to have the universe that they want. After meeting alternate versions of themselves, Multiverse shows that you never really know which choice was the “right choice” and living in regret because of your choices is foolish. No matter how terrible the little decisions may be, they lead you to who you’ve become now and accepting that these moments happened allows us to move forward.

Overall, Doctor Strange in the Multiverse of Madness is a horrifying and beautiful trip into the multiverse. For his first venture into the MCU, Raimi steps up his game and offers us something that we’ve never seen before that I definitely recommend. Wild and weird, Raimi truly lets the Madness out of this Multiverse.

Doctor Strange and the Multiverse of Madness is available in theatres on Friday, May 6th, 2022.

Spider-Man: No Way Home – A Hero for Everyone

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When Marvel unleashed Spider-Man: No Way Home in 2021, I’m sure they knew it was going to be a hit… but could anyone have expected what came next?

More than fun and fury, No Way Home not only became a financial juggernaut, it almost single-handedly saved the 2021 theatrical box office. All of a sudden, this was not your average Marvel success. It became the #6 highest grossing hit of all time. (Seriously. Let that sink in for a moment.)

Who knew Spidey was the measure to which all MCU films would be held moving forward?

Taking place immediately after the final moments of Spider-Man: Far From Home, No Way Home leans into the fallout of having the Webcrawler’s identity revealed to the world. Under constant scrutiny by those who believe he murdered Mysterio, Peter Parker seeks out the help of fellow Avenger, Dr. Strange. After Peter asks him to cast a spell that will make people forget his identity, the good Doctor reluctantly helps. However, when the spell goes wrong, the effects on space/time are devastating. As other characters from the multiverse sneak into their own world, Parker must attempt to capture his mysterious foes before its too late.

There’s really no other way to say it. Despite building hype over the past few years, Spider-Man: No Way Home somehow manages to deliver the goods. Once again directed by Jon Watts, the conclusion to the ‘Home Trilogy’ balances epic scale Marvel action sequences and intimate character-driven moments that work on a number of levels. While Marvel sometimes has a tendency to sacrifice storytelling for the sake of action sequences (and vice versa), No Way Home finds a way to incorporate them into one another in such a way that they actually impact each other. (This is especially true in the film’s third act ‘mega-battle’, which actually furthers the emotional arc of the films characters.) After three films, Watts cares enough about this franchise to tell a story that means something to his team and the results are spectacular. Seamlessly blending genres and generations together, Watts creates an epic finale but never sacrifices the soul of his characters in the process.

Of course, No Way Home is an absolute nostalgia-fest for every fan of the Spidey-franchise over the last 20 years. For years, people of debated which iteration of the cinematic Spidey-verse is superior to the others. Here though, Marvel gets to celebrate them all in one big party. This is a festival of all things Spidey that should delight three eras of superhero filmgoers at the same time. 

Even if Peter Parker has No Way Home, this film is a welcome homecoming for many old friends.

However, while nostalgia may be fun for everyone, what makes the film work is that their appearances are relevant to the story through some sharp writing. By bringing back familiar faces in new situations, No Way Home could have simply devolved into a fanservice mess yet their appearances somehow further developing their original story arcs. (Returning villains like Willem Dafoe, Jamie Foxx and Alfred Molina are allowed the chance to develop their characters further without detracting from their original stories. In fact, Marvel arguably elevates their previous material in the process.)

At the same time, the film becomes a perfect finale for this chapter of the Spider-Man story. Throughout his three Spider-films, Watts has done a (mostly) impressive job spinning interesting stories for the Wallcrawler. Whereas Homecoming told a small and intimate tale of a young boy who simply dreams of becoming an Avenger and Far From Home showed that young man trying to balance his life, No Way Home takes that journey even further. Having almost literally grown up onscreen before our eyes, Holland has exemplified the youthful enthusiasm that we expect from the character. In No Way Home, further completes his coming-of-age into a true Spider-Man as opposed to Spider-Teen. Having moved through high school, Holland’s Spider-Man is now faced with understanding what it truly takes to be a hero. In No Way Home, Parker has to make decisions about his life and the safety of his friends that he would have been unable to make earlier on in the franchise. Without giving away any spoilers, this iteration of Spider-Man needed to learn what it means to sacrifice himself out of love for others. 

Why? Because that’s what heroes do.

However, No Way Home is also about second chances. Although most superhero films of the last two decades have featured heroes battling unsalvageable villains, No Way Home actually makes a point of arguing that everyone deserves a chance at redemption. Rather than writing off these villains as ‘bad guys’, Holland’s Spidey is challenged to view them as more. Here, iconic villains like Doc Ock, Green Goblin and Electro show their vulnerability and humanity more effectively than they have in other films. 

What if the ‘bad guys’ are actually the ‘lost guys’?

There’s a sensibility to this film that, maybe, anyone can change. Despite the ‘fate’ that they are dealt, No Way Home allows the opportunity for a crack in the villainous armor. Despite the negative tone of its title, No Way Home wants to believe that there is a new way for anyone who chooses it. Maybe, regardless of their past actions, there’s an opportunity for these villains to find hope. For Parker, maybe these villains are more than the sum of their darkness.

Admittedly, the special features are a little scant for a film that is–again–the #6 box office draw of all time. However, there are some fun things of note. Alternative Reality Easter Eggs looks to point the viewer in the direction of things they’ve missed and Spider-Men Unite and A Meeting of the Spiders help give the audience more of the Spidey trio that excited the world. Other than that, there’s not a tonne worth noting… but the film is so ridiculously fun, it’s almost not worth noting any disappointment in this area.

While the nostalgia is fun and action is well-executed, it’s the conversations about hope and heroism in Spider-Man: No Way Home that truly leave a mark. Wrapping up this chapter of the MCU’s Spidey-Verse, Watts completes the emotional arc that he began about a crew of high school kids learning how to grow up. But he also manages to tread new ground for characters that we already felt we knew. Leaning into hope for the ‘bad guys’, the film gives Spidey the chance to try to help everyone, not just his friends in his neighbourhood. 

Because that’s what heroes do.

Spider-Man: No Way Home is available on 4K, Blu-Ray, DVD and Digital on Tuesday, April 12th, 2022.

8.12 Behind the Image in THE POWER OF THE DOG

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In Jane Campion’s THE POWER OF THE DOG, Benedict Cumberbatch plays gruff cowboy, Phil Burbank. After his brother returns with a new wife and son, Phil does his best to put on a show of toxic masculinity and dominance, even as his conflicted soul suffers underneath. This week, Seeing & Believing‘s Kevin McLenithan and author Wade Bearden stop by to talk about hiding behind the image and showing our dark side.

(Note: This episode was recorded as part of our ‘Best Movie Moments of 2021’ and re-edited as a standalone. You can watch our Top Movie Moments episode here.)

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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The Power of the Dog: Poisonous Image and Personal Courage

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Trying to maintain an image can be exhausting. In The Power of the Dog though, we see that trying to live up to public expectations can also kill the soul.

Although they have built a successful ranch together, brothers George and Phil Burbank could not be more different. Elder brother Phil (Benedict Cumberbatch) maintains a rough and dirty exterior who consistently praises his masculine mentor, Bronco Bill. Meanwhile, George (Jesse Plemons) is a sensitive soul who wants to be a part of the cultural elite. When George meets Rose (Kirsten Dunst), he is immediately smitten by her. After they wed, he welcomes his new bride and her son Peter (Kodi Smit-McPhee) back to the ranch. However, as family secrets begin to surface, tensions between Phil, Rose and Peter begin to rise, threatening the family dynamics.

Directed by Jane Campion, The Power of the Dog is a return to form for the director. In her first directorial effort since 2009’s Bright Star, Campion’s latest is a stirring character drama that operates on a slow burn amidst the heat of the desert. Bleaching the screen with pale, warm colours, Campion uses the land to visually display the emotional dryness that her characters are experiencing. Although they live and work in this land, this is a place of death and parchedness of the soul.  

Led by a cast that includes Dunst, Smit-McPhee and the always rock-solid Plemons, it should be no surprise that Dog features some great work from everyone involved. However, the most noteworthy performance comes from Cumberbatch who absolutely transforms himself as Phil. Known for his affable charm and smile, Cumberbatch fully leans into the sexually-confused curmudgeon that he plays and offers one of his best and most unique performances. Although Phil maintains a rough exterior, Cumberbatch also manages to break through his beastliness and infuses his character with humility and even fear. 

Somewhat unexpectedly, the film takes its title from Psalm 22:20 but the allegory becomes quite appropriate. In this particular Biblical passage, psalmist David is mourning that his life is under constant attack from his enemies. Crying out to God for salvation, he pleads “Deliver me from the sword, my precious life from the power of the dog.” There is an anguish and anxiety that pervades this passage that reveals the fear of its author at the hands of his adversaries. As a result, Campion subtly uses this text to establish the sort of inner suffering that her characters experience, especially Phil Burbank.

While the ‘gay cowboy’ trope has admittedly become a cinematic staple since Brokeback Mountain broke down barriers, Power of the Dog is more of an exploration of masculine culture than it is a love story. Set at a time when gender roles were supposed to be clearly defined, Dog speaks to the damage that can be done to the soul when who we really are fails to meet those expectations. In almost every case, the characters within this film have an image that they seek to maintain. George insists on giving the impression that he is of high society. Rose desperately wants to keep people from seeing her alcoholism. Most importantly though, Phil is a brute who desperately seeks to cover up his own homosexuality. Here, every primary character is living some form of lie that prevents them from being who they fully are.

As a result, in an interesting twist, the most powerful character in the film may actually be the one who is perceived to be the weakest. As a young artist who dresses flamboyantly, Peter is looked down upon by the brutish cowboys that work on the ranch. However, he is also the only one who is not trying to hide who he really is. Comfortable in his own skin, Pete dresses how he likes and is willing to stand out of the crowd. 

Peter’s self-empowerment draws Phil’s attention with an ire that stems from admiration. In other words, although Phil begins by bullying the young man, its fairly easy to tell that these aggressive acts are merely over-compensation and rooted in his own envy of Peter’s confidence. For his entire life, Phil has admired his idol, Bronco Bill for the power and masculine dominance that he demonstrated. Staring off into the mountains for the proverbial dog, Phil recognizes that his life means more than what others can see yet he seems powerless to experience it. However, in Pete, Phil discovers a wholeness and sense of self that creates a new form of respect in him. 

Whereas Phil remains trapped within his own harsh image, Pete is free to be himself. 

With heat and affection, Campion’s Power of the Dog is a subversive examination of masculine stereotypes and their toxic effect on the soul. By subverting the tropes of the western genre, she opens a space for conversation surrounding what it means to lean into who you really are, even if it defies expectations of the dominant culture.

The Power of the Dog is available in theatres on Friday, November 17thth, 2021 and will make its debut on Netflix on December 1st, 2021.

The Electrical Life of Louis Wain: Caring and Connecting Through Cats

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Whether or not you consider yourself a ‘cat person’, there’s something electrical about the life of Louis Wain.

Set in Victorian London of the 1880s, The Electrical Life of Louis Wain tells the story of Louis Wain (Benedict Cumberbatch), an academy-trained artist who earns his keep by drawing portraits of animals from the county fair. Living with his mother and five younger sisters, Wain was committed to supporting his family yet constantly seemed to find himself at odds with the rest of society. However, his demeanor changes when he hires Emily Richardson (Claire Foy), a loving and inquisitive governess to care for his sisters. Despite their class differences, romance blooms between them. As such, their relationship frustrates his sister Caroline (Andrea Riseborough), causing tension within the family structure.

Directed by Will Sharpe, The Electrical Life of Louis Wain is an engaging and heart-warming piece that celebrates one of arts most unique voices in the last 150 years. While the structure follows standard biopic structure, Sharpe’s use of colour helps give the film a very different style that blends reality with the art world itself. Backed by another all-around solid performance by Cumberbatch, Louis Wain feels surprisingly earnest for a film that focuses on a man that spent much of his life painting cats. Nevertheless, there’s something joyful embedded within the film that simply charms (and even makes you appreciate cats a little bit more).

It’s worth noting that Cumberbatch is having somewhat of a moment in his career this year. With Oscar buzz regarding his performance in The Power of the Dog and his upcoming appearance in this December’s Spider-man: No Way Home, his name is everywhere right now. However, in Louis Wain, Cumberbatch gives one of his most delightful performances in recent years. When given the opportunity, Cumberbatch can either sparkle or simmer and Sharpe’s script gives him the opportunity to do both. Although the subject matter may seem odd at first, the story allows him to show his range from silliness and flamboyance to idiosyncratic to quiet pensiveness. In light of this, while Dog is gaining much of the awards attention thus far, Louis Wain may be a better showcase for his incredible talents.

There’s simply a beauty in this story that blends the energy of art leading into the everyday. Through his use of brightly coloured matte paintings and filtered shades, Sharpe plays with reality consistently and thoroughly throughout the film. There is a moment early on where light hits a prism, allowing colour to burst forth everywhere. As this blast of colour brightens up the room, so too does Sharpe use this to become an accurate depiction of the life of Louis Wain himself. In many ways, he was a man who saw the ordinary and extraordinary ways. Although social conventions forbid it, he decided to marry a woman who is both older than him and of a lower class. At a time when cats were seen as common trash, he viewed them as treasured pets. His life was one that sparked a unique flavor of joy, even if it went against the customs of the day.

At the same time though, Louis Wain was a man who carried an incredible burden underneath the surface. Although those around him primarily focused on his idiosyncrasies, there was a much deeper resonance within his soul. Despite the fact that much of his art focused on cats, he himself had a profoundly unique way of viewing the culture of his day. Primarily, Louis Wain saw the world through relationship. It’s worth noting that the ‘electricity’ to which the title refers is not about a scientific experiment but instead points to those things that bind and connect us. Wain could feel the energy in the room and believed that that was the currency of life. In fact, his love of cats stemmed from his belief that they were creatures of energy and eclecticism that was a spark to the human experience. Like his feline artistic muses, he too carried an energy that was misunderstood by those around him. Even if he was the only one in the world who felt this way, Louis Wain understood the power of relationship and the vibrancy that can enliven people who are loved by others.

With a strangely cryptic title and enthusiastic adoration of cats, The Electrical Life of Louis Wain is an unexpected joy that speaks to the value of everyone, especially the outcasts. By giving himself the freedom to bring Wain’s art to life, Sharpe creates a world that is energized by its style and invigorated by its star. In the end, Louis Wain becomes a film which begins with a love of cats and ends with a deeper appreciation for those around us. 

The Electrical Life of Louis Wain is be available in theatres on Friday, November 5th, 2021.

TIFF ’21: The Electrical Life of Louis Wain

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Set in Victorian London of the 1880s, The Electrical Life of Louis Wain tells the story of Louis Wain (Benedict Cumberbatch), an academy-trained artist who earns his keep by drawing portraits of animals from the county fair. Living with his mother and five younger sisters, Wain was committed to supporting his family yet constantly seemed to find himself at odds with the rest of society. However, his demeanor changes when he hires Emily Richardson (Claire Foy), a loving and inquisitive governess to care for his sisters. Despite their class differences, romance blooms between them. As such, their relationship frustrates his sister Caroline (Andrea Riseborough), causing tension within the family structure.

Directed by Will Sharpe, The Electrical Life of Louis Wain is an engaging and heart-warming piece that celebrates one of arts most unique voices in the last 150 years. While the structure follows standard biopic structure, Sharpe’s use of colour helps give the film a very different style that blends reality with the art world itself. Backed by another all-around solid performance by Cumberbatch, Louis Wain feels surprisingly earnest for a film that focuses on a man that spent much of his life painting cats. 

Nevertheless, there’s something joyful embedded within the film that simply charms (and even makes you appreciate cats a little bit more). In many ways, Wain was a man who saw the ordinary and extraordinary ways. His life was one that sparked a unique flavor of joy, even if it went against the customs of the day. With a strangely cryptic title and enthusiastic adoration of cats, The Electrical Life of Louis Wain is an unexpected joy that speaks to the value of everyone, especially the outcasts. 

The Electrical Life of Louis Wain premiered at TIFF ’21 on Sunday, September 12th, 2021.

TIFF ’21: The Power of the Dog

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Although they have built a successful ranch together, brothers George and Phil Burbank could not be more different. Elder brother Phil (Benedict Cumberbatch) maintains a rough and dirty exterior who consistently praises his masculine mentor, Bronco Bill. Meanwhile, George (Jesse Plemons) is a sensitive soul who wants to be a part of the cultural elite. When George meets Rose (Kirsten Dunst), he is immediately smitten by her. After they wed, he welcomes his new bride and her son Peter (Kodi Smit-McPhee) back to the ranch. However, as family secrets begin to surface, tensions between Phil, Rose and Peter begin to rise, threatening the family dynamics.

In her first directorial effort since 2009’s Bright Star, Jane Campion’s latest is a stirring character drama that operates on a slow burn amidst the heat of the desert. Led by a cast that includes Dunst, Smit-McPhee and Plemons, it should be no surprise that Dog features some great work from everyone involved. However, the most noteworthy performance comes from Cumberbatch who absolutely transforms himself as brutish Phil Burbank. 

With heat and affection, Campion’s Power of the Dog is a subversive examination of masculine stereotypes and their toxic effect on the soul. While the ‘gay cowboy’ trope has admittedly become a cinematic staple since Brokeback Mountain broke down barriers, Power of the Dog is more of an exploration of masculine culture than it is a love story. Set at a time when gender roles were supposed to be clearly defined, Dog speaks to the damage that can be done to the soul when who we really are fails to meet those expectations. Here, every primary character is living some form of lie that prevents them from being who they fully are. By subverting the tropes of the western genre, she opens a space for conversation surrounding what it means to lean into who you really are, even if it defies expectations of the dominant culture.

The Power of the Dog premiered at TIFF ’21 on Friday, September 10th, 2021

The Courier: Small Acts, Big Impact

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Directed by Dominic Cooke, The Courier tells the little-known (but true) story of Greville Wynne (Benedict Cumberbatch), a 1960s British businessman who thoroughly enjoys his role as a husband and father. However, his life is suddenly turned upside down when he is approached by the CIA and MI6 in order to help penetrate the Soviet nuclear programme. The plan is simple. Pose as a partner of Russian business associate Oleg Penkovsky (Merab Ninidze) and transport any intelligence that Penkovsky can uncover regarding the Soviet missiles that are being transported to Cuba. However, as the Soviets close in on their operation, both men are forced to make decisions that potentially threaten their family and their lives.

Stylish and sleek, The Courier has the look and feel of other classic espionage thrillers such as Tinker, Tailor, Soldier, Spy or Bridge of Spies. Blanketed with a bleached colour palette and armed with a solid script, the film does an excellent job of transporting the viewer to an era that truly left a mark on world history. Interestingly, while Courier plants the viewer in the midst of one of the most intense global moments in recent history, it’s the relationships that drive the narrative. Though set in the midst of the Cuban Missile Crisis, Cooke is far more interested in how these extreme circumstances affect the people on an interpersonal level. In doing so, Courier feels more relatable as it recognizes the stress that these circumstances would have had on families and friendships in addition to their potential global ramifications.

What’s more, the film features some truly remarkable performances from its cast. Though rising star Jessie Buckley and Rachel Brosnahan provide solid work here in their respective roles, it’s Cumberbatch and Nindze that shine most brightly among the stars. Anchoring the film with their genuine concern for one another, Nindze and Cumberbatch provide the emotional core of The Courier and help set it apart from other examples in the genre.

Playing the character with doe-eyed innocence, Cumberbatch brings an incorruptibility and charm to everyman Wynne that still allows him to be a credible resource to the government. However, it’s the film’s final third that truly pushes his performance. Captured and tortured by Russian officials, Cumberbatch shows his commitment to the role and truly deserves recognition for his focus and presence. At the same time, Nindze almost steals the film with an incredible performance as Penkovsky. Caught between devotion to his country and his desire to preserve human life, Nindze plays his character with a complex blend of strength and human compassion as he masks his concerns behind a steel grin. 

The interesting thing about Courier is that, though the film takes place over 50 years ago, its sense of urgency behind global politics and tension still feels current. (In some ways, if one were to substitute the film’s use of spy cameras with internet hacking, it would feel as though it were taking place today.) In the midst of constantly shifting global relationships and the tensions that creates, the impact of people’s contributions and voices continue to leave their mark on the world.

With this in mind, The Courier highlights the value of the small acts in overwhelming circumstances. For example, despite the results of their actions, Wynne and Penkovsky never do anything ‘wild’. The anti-thesis of James Bond, their actions appear small by comparison. There are no car chases or gunfire. However, the courage shown by Penkovsky and Wynne and their willingness to do what’s right sends waves that turn the tide of history. Their commitment to both their families and world peace drives them to take risks to affect change that only they can do. 

While their actions may seem small, the results affected everyone.

With patience and heart, The Courier is well worth your time. Director Cooke weaves a truly fascinating web of intrigue that shines light on a story that many of us have never heard before. For Penkovsky and Wynne, these moments changed their lives. Thankfully though, The Courier also does a great job of showing how their actions also changed the world.

To hear our conversation with director Dominic Cooke, click here.

The Courier is available on VOD on Friday, April 16th, 2021.

The Mauritanian: Hell in a Cell

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Though it takes place in belly of the infamous Guantanamo Bay, the story of Mohamedou Ould Salahi is ultimately about one man’s quest for freedom against a corrupt system.

But what real freedom means to him may surprise you.

Set in the early 2000s, The Mauritanian tells the tragic and true story of Mohamedou Ould Salahi (Tahar Rahim), a man who was arrested shortly after 9/11 due to his potential connections to Bin Laden and the Taliban. Although he remained steadfast in his innocence, Salahi was detained and shipped to Guantanamo Bay for further questioning about his involvement in the attacks on the World Trade Centre. Facing the death penalty, Salahi is offered counsel by defense attorney Nancy Hollander (Jodie Foster) and her associate Teri Duncan (Shailene Woodley). However, as Hollander and Duncan continue to unravel their client’s story, they also potentially uncover a far-reaching conspiracy that could also expose corruption within the government’s military tactics.

Directed by Kevin MacDonald (The Last King of Scotland), The Mauritanian is a poignant but painful film that exposes the abuse that takes place when power gives way to fear. Due to its unflinching moments of grim and grisly torture (especially in the second act), the film may not be for the faint of heart yet it somehow feels authentic to the era. Featuring some solid performances and a well-written script, MacDonald pulls no punches in telling the story of a man who takes the blame for a country’s grief. Set against the backdrop of the racial paranoia that set in following 9/11, MacDonald use Salahi’s story as a tragic example of what happens when a nation is willing to sacrifice their morals in their search for answers. For many, Salahi’s confession became necessary, not merely to garner justice for the attacks, but also to simply have ‘someone to blame’. 

Although stars Benedict Cumberbatch, Foster and Woodley all offer solid work here, the best performance of the film is reserved for Rahim who delivers a powerful performance as Salahi. Locked away in the darkest dungeons of Guantanamo Bay, Salahi’s story is an endless stream of suffering, cruelty and disappointments for a man who never receives any legal charges against him. As such, Rahim displays a complexity and emotional maturity within him as his character fights for his rights yet meets a never-ending stream of roadblocks to justice. However, even in the midst of this brutality, Rahim also brings a vibrancy and charm to his performance that lights up the screen. Despite his circumstances, Rahim shows a playfulness within his character that breathes life into a role which could have over-emphasized the violence instead of a man’s vitality.

Salahi’s journey is an absolute testament to the strength of his spiritual commitment. Despite the unbearable pain and torment that he experiences, Salahi clings to a faith that helps him to endure. By maintaining rituals of prayer and discipline, his spiritual lens allowed him to maintain hope and arguably even a positive attitude. (In fact, in the midst of his torture, one of the things he is most upset about is losing his copy of the Qur’an.) Though his days grew increasingly darker, Salahi drew strength from the light of his faith.

Most amazingly though, Salahi’s faith gave him a heart of compassion. Without giving away any spoilers, this becomes most clear in the climactic courtroom scene where, with his freedom hanging in the balance, Salahi speaks of the need to forgive his abusers and the US government. Although the justice system had failed him terribly, his confidence in the Qur’an gives him the strength to offer grace to a group of people who do not deserve it. (“In Arabic, the word for ‘free’ and ‘forgiveness’ is the same word,” he points out.) Though his fate remains undetermined at the hands of a corrupt system, Salahi doesn’t fight back with anger. 

He offers freedom… to others.

Therein lies the true beauty of The Mauritanian. As a man who had his life stolen from him by an angry nation, Salahi’s grace-filled heart shines brightly. In this way, while the film’s emphasis may focus on the injustice of the military system during a turbulent era, the real story is Salahi’s understanding of what it means to be truly free.

To hear our interview with the real Salahi, click here.

The Mauritanian is available in PVOD on Tuesday, March 2nd, 2021.