One of the most glaring sins of “Doctor Strange” is how quickly Strange masters magic. Instead, 'Doctor Strange' falls into some significant narrative mistakes. But the film had the opportunity to do something different, by showing the interior of a character forced to rethink everything he knows and the nature of reality itself. Strange may be a character that hews too close to the model of rich, egotistical white men with which superhero films are obsessed. Even a man as arrogant as Strange can’t deny what he’s been shown. He bounces between dimensions that resemble the dark beauty of outer space to those that are a kaleidoscope of colors. We watch Strange become enveloped by hundreds of hands as if out of a nightmare. We’re privy to worlds full of neon purples, cerulean blues and blood reds. The visual landscape of their first encounter is the film at its most daring. But after receiving a tip from Jonathon Pangborn (a charismatic, underutilized Benjamin Bratt), Strange finds himself under the tutelage of The Ancient One ( Tilda Swinton) in Nepal, who opens him up to worlds he never believed existed. Instead, as one surgery after another fails, he becomes crueler and more withdrawn, even lashing out at ex-lover/co-worker Christine Palmer ( Rachel McAdams), who is the last person on whom he can depend his world of medicine and science has failed him. This doesn’t make Strange rethink the way he lives. His scarred, trembling hands are a constant reminder of the man he once was and never will be again.

After being distracted looking at medical documents while driving (he may be smart but his ego makes him think he’s invulnerable), Strange gets into a brutal car accident that wrecks his hands. He moves through the world with little regard for the people around him.

Doctor Stephen Strange ( Benedict Cumberbatch) is a genius, rich neurosurgeon with an ego that could rival Tony Stark’s.

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