Like many of the filmmakers involved in the Marvel Cinematic Universe, Scott Derrickson (who’s best known for horror films like “Sinister”) may not seem like the obvious choice to direct a “Doctor Strange” movie. Then again, it’s pretty amazing that a film called “Doctor Strange” exists at all, because it’s arguably one of the weirder properties under the Marvel banner. That uniqueness ends up working in its favor, however, as Derrickson has basically made a psychedelic kung fu/fantasy movie that is without question the most visually stunning film that Marvel has ever produced. Joining the ranks of other B-list characters like Ant-Man and the Guardians of the Galaxy, “Doctor Strange” marries its inventive visuals with the usual superhero story beats to deliver the best solo origin movie since director Jon Favreau kicked off the MCU with “Iron Man.”

The two films have a lot in common, beginning with their titular characters. Like Tony Stark, Dr. Stephen Strange (Benedict Cumberbatch) is a bit of an egomaniac – a brilliant neurosurgeon whose own hubris leads to his downfall. After he’s injured in a near-fatal car accident that renders his hands unusable, Strange tries every surgery and experimental treatment available in an attempt to save his career. When traditional medicine fails him, the bitter and defeated Strange goes looking for a miracle cure in Nepal, where he’s introduced to the Ancient One (Tilda Swinton), a powerful sorcerer who commands a mysterious order of warrior monks, including Karl Mordo (Chiwetel Ejiofor) and Wong (Benedict Wong), charged with protecting Earth from supernatural threats. Though Strange is skeptical at first, the Ancient One opens his mind to the infinite power and knowledge that the universe contains, ultimately taking him on as a student of the mystic arts. But after a former acolyte named Kaecilius (Mads Mikkelsen) steals a forbidden ritual from the Ancient One and goes rogue, amassing his own army of zealots to bring about world destruction, Strange must put aside his selfishness to help stop him.

“Doctor Strange” received a lot of criticism during production for casting a white woman in a typically Asian male role, but despite claims of whitewashing (which are ridiculous considering the diversity of the cast), Swinton is actually very smart casting; she brings an otherworldliness to the character, thanks in part to her androgynous features, that gives the Ancient One a more fantastical quality, all while avoiding the racial stereotypes of the original version. It’s the first time that Marvel has gender-swapped one of their characters, but instead of applauding the studio for this kind of progressive thinking (Mordo is also conventionally white but played here by Ejiofor), it’s been muted by the controversy.

You can’t please everyone, although most people seem to agree that Cumberbatch is the perfect choice to play Doctor Strange, and the actor proves it quite emphatically with his cocky yet charming performance, like Tony Stark without the daddy issues. Not since “Iron Man” has a Marvel movie relied so heavily on its leading man, but Cumberbatch does such a great job of juggling the drama, action and comedy in Derrickson and co-writer C. Robert Cargill’s script that it helps ground the silliness of the character. The rest of the cast are good in their roles, even if Mikkelsen suffers from the same problems as other Marvel villains (namely, the lack of a compelling backstory), and Rachel McAdams, Ejiofor and Wong (the latter of whom has some funny interplay with Cumberbatch) are not as fully developed as they could be. Ejiofor’s Mordo, in particular, feels like he’s being held back for a more important role in a potential sequel.

It’ll be interesting to see how much further Derrickson can push the boundaries of the MCU if given the chance, because “Doctor Strange” is already a wild mind-trip filled with colorful, kaleidoscopic imagery that looks like it came straight out of a Steve Ditko comic book panel. The gravity-defying, physics-bending action sequences are unlike anything the studio has ever done, and they’re really cool to watch unfold. Even the big finale, which involves the manipulation of time, provides a fun twist that subverts the typical superhero movie ending. Of course, “Doctor Strange” never strays too far from the tried-and-true Marvel formula, but it’s not afraid to get a little weird either, and Derrickson is more than happy to oblige, embracing the absurdity of the material with a knowing wink, as if to say, “Are you having fun yet?” “Doctor Strange” is nothing if not fun, balancing the headier stuff with a strong dramatic core and a dash of humor to create an immensely enjoyable addition to the genre that’s among Marvel’s finest films to date.

When it was announced that Jon Favreau would not return as director of the third “Iron Man” film, the producers surely fielded offers from every name director in town. So how did Shane Black land this gig, again? The guy hasn’t written or directed a feature film since 2005’s “Kiss Kiss Bang Bang,” and yet here he is, doing that Shane Black thing once again, only this time with superheroes, while trying his best to streamline his R-rated ways for a PG-13 audience. As it turns out, “Iron Man 3” works, but just barely, and it’s more in spite of Black’s influence than because of it. At the beginning of the second act, Black begins to get in his own way, and for anyone familiar with his work, it’s not long before a strong case of deja vu sets in. He even set the movie during the holiday season, just like “Lethal Weapon.” And “The Long Kiss Goodnight.”

Tony Stark (Robert Downey Jr.) is not handling the events that took place in “The Avengers” well. He can’t sleep, he’s experiencing panic attacks, and he’s neglecting his girlfriend Pepper Potts (Gwyneth Paltrow). The last thing he needs is a crisis, so of course he receives two, in the form of a think tank genius named Aldrich Killian (Guy Pearce) who’s trying to woo Pepper into funding some groundbreaking genetic research, and a stone-cold terrorist named The Mandarin (Ben Kingsley) who has launched a series of unusual bombings across the country. Tony dares the Mandarin to take him on; the Mandarin responds by destroying his house. Tony Stark, one of the richest and most famous men in the world, is at rock bottom.

Taking privilege away from those who have it, and forcing them to use their wits in order to survive: it’s a fun story device, but doing it with Tony Stark is unfair to the story device. He’s too damn smart and capable to be down for more than a few seconds, and any attempt to weaken him turns out to be in vain in a very short period of time. The one thing about the story that Black nails – and it’s a big one – is the execution of the Mandarin. In the comics, the Mandarin derives his power from 10 ancient rings powered by alien technology. That isn’t going to fly in the movie universe (it would feel like cheating), and Black comes up with a rather clever way of grounding the Mandarin while maintaining his deadliness, paving the way for a showstopping performance by Kingsley. Black also gives Paltrow the long-overdue opportunity to be something other than a damsel in distress, though at the same time, he uses her as bait for a good chunk of the third act.

Indeed, that third act will serve as the barometer for how people feel about the movie overall. For those unfamiliar with Black’s work, it will probably be a non-event. It’s action-packed and entertaining and fun. For the rest, it will feel dated and silly. When Downey and Don Cheadle sneak up on the Mandarin in the movie’s big finish, it’s hard not to think of Mel Gibson and Danny Glover. People dodge ridiculously large fireballs, and Downey spends time in a dungeon in a scene that looks like a mirror image of the one from “Lethal Weapon,” though without the torture (we’re assuming the torture wasn’t in the original script, but Gibson insisted upon it). When one takes the story and thinks of it in conjunction with the bookend narration and the obligatory teaser shot at the end of the credits, it all makes sense, but in a cynical way. It reeks of hand wringing, that they manicured the script for the sole purpose of paving the way for the launch of another “Avengers” franchise, knowing that it would weaken this film, but that’s all right, because this movie will make money regardless. That’s pretty damn cynical.

“Iron Man 3” is a movie in conflict. Marvel obviously wants these movies to be as good as they can be, but there is also the “Avengers” big picture to consider at this point. Each of these films is designed to set up another film outside of its universe, and so far they have done very well with that, but they seem to have forgotten that what started this incredible wave of momentum that Marvel is enjoying right now is the fact that the first “Iron Man” kicked ass, and it did so by putting itself ahead of the Avengers as a whole. Every movie since then – “The Avengers” excepted, mostly – has played it much safer. Some have been very good, others less so, but all of them have been about the greater good. Tony Stark doesn’t give a shit about the greater good, so it’s painful to see an “Iron Man” movie toe the line.