That Ryan Reynolds Movie Everyone is Talking About


Release: Friday, May 18, 2018

→Theater

Written by: Rhett Reese; Paul Wernick; Ryan Reynolds

Directed by: David Leitch

In Deadpool Deuce, Wade Wilson’s greatest enemy isn’t some psychotic surgeon, a mutant-hating criminal or even those gosh-darn regenerative powers of his, but rather the writers who are trying to keep things interesting. The highly-anticipated sequel takes all the R-rated, fourth-wall-breaking elements that made its predecessor a smash-hit and amplifies them. The formula certainly still works, even if all those steroids still can’t mask a fundamentally weak story. And besides, nothing is quite like a first encounter.

Digging deeper into its X-Men roots, the gleefully profane and gory sequel continues the murderous crime-thwarting exploits of cancer-riddled Wade Wilson, a.k.a. Deadpool, as he assembles the X-Force in order to protect an unstable young mutant named Russell Collins, a.k.a. Firefist (Julian Dennison), from the time-traveling cyborg Cable, played by Josh Brolin in his second role as a Marvel villain in as many months. Considerably less devastation follows in his wake this time, though. Meanwhile, a more important subplot finds this reviewer finally reunited with the Maltesers he was looking for — but would they last him the length of the film?*

Spoiler alert: no, no they would not. (In my defense trailers these days are 5 hours long.)

David Leitch, the director of John Wick — less charitably referred to here as the guy who killed John Wick’s dog — takes over the reigns from Tim Miller. Whereas Miller was tasked with giving a fairly obscure Marvel character the right entrance, Leitch’s film aspires to add — dare I even say it? — emotional depth. Both are unenviable positions to be in and ultimately are equally thankless when you consider how their influence pales in comparison to that of their star actor. I mean, it’s undeniable now — Ryan Reynolds is the most influential super-personality since Robert Downey Jr. became Tony Stark. He is this franchise.

On the evening of their anniversary, Wade and his fiancée Vanessa (Morena Baccarin) start talking about the possibility of having a little family of Deadpools. But when work follows him home that night with tragic results, it leaves Wade utterly distraught . . . and global audiences watching him attempt to end his life in a rather buzz-killing montage of self-destruction. It’s all for naught, though, since he can’t die and his dear friend Colossus (Stefan Kapičić) comes to pick up the pieces of Humpty Dumpty, taking him back to the Xavier School for Gifted Youngsters to recuperate and where Colossus hopes to recruit him into the X-Men. The problem is, Deadpool typically operates one way and the X-Men quite another. Add to that the fact that Wade isn’t exactly in a merciful mood at this point in time, and welp. You get the Escape Plan-esque Ice Box scene.

As was made abundantly clear in the first installment, the titular character is a Marvel (anti-)hero forged from immense physical suffering that has rendered him Johnny Knoxville in Bad Grandpa skin. That suffering continues here, except now that the threshold of physical pain has been reached the only thing Wade has left that can be broken is his spirit. To that, Deadpool 2 isn’t a sequel that “goes bigger,” but one that tries to cut deeper. It offers an emotional trial that goes for profound but instead comes across shallow and hard to trust in the face of all that unbridled cynicism. What kind of a father would Wade actually make? Will he ever not be a disappointment to his friend Colossus, who sees more in the mercenary? Does any of this really matter, given what one of the post-credits sequences suggests?

‘Emotional trial’ becomes this catch-all term for what pretty much everyone is going through in this movie. Suffering is true not only of our human-condom-looking hero, but as well the villains and the would-be villains. Firefist, the mutant to which the most significant action accrues, has suffered a terrible childhood at the hands of staff at the Mutant Reeducation Center, a dilapidated facility run by the mutant-hating, Bible-thumping Headmaster Daniel (Eddie Marsan). Marsan is a reliable actor, yet he is only allowed to carve out a very stock villain here, despite his fascinating and brutal backstory of mutant molestation and experimentation and such. Then there is Brolin’s cyborg dude, who has traveled back in time to pull a Minority Report on Firefist, who will in the future perpetrate a terrible act against Cable’s family.

Deadpool 2 fuses these journeys together in a way that, par the genre, defies logic in service of thematic convenience and always finds the most important people in the right location in time for the big showdown — “the big CGI fight,” as it were. The entire film is predictable, and it damn well knows it too — the screenplay even has a part installed where Reynolds points this out to us — but self-deprecation isn’t a great substitute for a truly compelling narrative. At least one with real consequences. This is a second chapter, but the stakes are actually lower than ever now because we have become accustomed to the blasé attitude. The movie may as well open with a title card declaring everything will be okay at the end. It is that shameless — and I love it for that — but holy burned teddy bears is it predictable.

Despite all of that there are some developments that are actually surprising. Like the one stowaway Malteser I found at my crotch when I shifted in my seat for the 80th time late in the film. Surprise candy stashes notwithstanding, new additions like Domino (Zazie Beetz) and Peter (Rob Delaney — famous overnight) help refresh the atmosphere, while stalwart vets like Blind Al (Leslie Uggams) and Dopinder (Karan Soni) enthusiastically await their turn to make another impression. These characters together succeed in forming a spirited, if insane camaraderie. They make a crazy but lovable family, and since a sense of family is usually enough to give emotional depth to a second installment, I can let slide a lot of what this sequel doesn’t do very well, or isn’t interested in doing, and laugh on anyway.

* For anyone out of the loop on this, I refer you back to this monthly round-up post

Recommendation: The Merc with a Mouth returns in fine form, contractually obligated to be even mouthier than he was in the first, delivering rapid-fire insults as casually as he delivers death to those standing in his way. Fans expecting more of the same intensity from Ryan Reynolds as he fends off against new opposition and audience expectation aren’t leaving this one disappointed. Then again, the acting has never been Deadpool’s weakness. He’s got great support from a lively cast but the story could really use some more oomph. 

Rated: the rating that is one tier above PG-13

Running Time: 7,199 secs. 

Quoted: “Dubstep’s for pussies!” 

“You’re so dark. Are you sure you’re not from the DC Universe?”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

Logan

logan-movie-poster

Release: Friday, March 3, 2017

[Theater]

Written by: James Mangold; Scott Frank; Michael Green

Directed by: James Mangold

Logan is a robust superhero film and probably the most violent one we have encountered since Deadpool(Lest we forget that that movie was more than a comedy.) But even in the context of superhero films that have been slapped with the dreaded R-rating, this, The Passion of the Wolverine as it were, doesn’t really feel like a “game-changer.” It just feels like a very angry Marvel spin-off.

Logan is undoubtedly the most masculine movie yet in a universe that’s decidedly male-dominant. The testosterone pumping in its veins is unleashed in lethal doses. Sir Patrick Stewart drops (a surprising number of justified) f-bombs, while Hugh Jackman does his best William Poole impression, butchering his foes with psychotic fervor combined with the anger of ten thousand suns. The film follows a familiar cat-and-mouse blueprint wherein the aging man of adamantium must avoid letting a newly discovered, young mutant fall into the clutches of yet another Very Bad Man, this time, Boyd Holbrook‘s genetically enhanced Donald Pierce.

Fortunately, gore and bloodletting isn’t the only thing the movie excels at. It’s not merely escalating violence that signals the end is nigh. James Mangold successfully elevates the stakes with the way he situates his characters in the narrative. The odious stench of oppression recurs and is reinforced through brilliant location scouting that takes us from one pocket of solitude to another, from the gritty southern US border to the thick pine forest of North Dakota. It’s all the more impressive how real the threat feels given how familiar such tension has become.

Jackman’s ninth and final appearance finds him hobbling and coughing and spluttering around in 2029, a time where mutants are near extinct. A virus produced by the Transigen Corporation, for whom Mr. Pierce works as an enforcer, has played a large part in the crumbling of Logan’s world (and to a less narratively important but arguably just as emotionally significant degree, that of Charles Xavier).

Gabriela (Elizabeth Rodriguez), a nurse from that very corporation, intercepts Logan in Texas and urges him to get a young girl named Laura (Dafne Keen in her first film credit) to safety. The destination is a place called Eden, where supposedly other young victims of Transigen’s terrible experiments are being taken. Logan is loath to cooperate when he discovers that everything he is being told can be found in the X-Men comics. It ought to be noted that in a film so dour, his cynicism is relatively hilarious.

Logan finds a little more levity in the semi-antagonistic relationship that has crusted over between Logan and Charles. Both are now textbook geezers, though Logan is far more gruff and more prone to fits of rage. Charles is suffering from seizures that wreak havoc on those unfortunate enough to be in the vicinity of his powerful mind. Arguably the biggest (and most welcomed) surprise is that the film manages to still find new depths to explore with these well-established characters. Though the hope and promise that once defined the apprenticeship is long gone, the sense of familial responsibility has never been stronger.

That’s a theme supported by Wolverine’s recognition of a new mutant who seems to be more like him than he would care to acknowledge. Laura, who bears the same aberration in her hands, regards Logan as a father figure of sorts, in part by design and in part due to a natural gravitation towards someone who shares in her own uncontrollable rage. The young actor is memorable in a role that’s all too light on dialogue, a role that requires a diminutive physicality to suggest echoes of a young James Howlett.

Perhaps it is this dynamic that makes Logan “feel different;” we haven’t yet considered the Wolverine as a potential father figure. Between that and the downright shocking violence (particularly the conclusion), something that I’m either not seeing or giving enough credit to has struck a chord with audiences and critics alike. I’m not quite satisfied that Logan‘s superior craftsmanship qualifies as wholesale innovation.

The struggle to stay one step ahead and to avoid becoming exposed (again) is the sum total of what Logan‘s plot has to offer. This is yet another glorified man-hunt. This is Midnight Special more than it is The Dark Knight. But sophisticated writing matters less when the film’s true appeal lies in the emotive, in the opportunity Logan provides both diehards and casual fans alike to say their goodbyes. After all, this is a character Jackman has spent the last 17 years molding into something he can proudly call his own. He will be surely missed. Why does that sound like an epitaph?

hugh-jackman-sir-patrick-stewart-and-dafne-keen-in-logan

3-5Recommendation: It’s a bittersweet send-off for an iconic character, but a game-changer this most definitely ain’t. You’re going to want to call a babysitter for this one. Because another thing Logan ain’t is kid-friendly. 

Rated: R

Running Time: 137 mins.

Quoted: “Nature made me a freak. Man made me a weapon. And God made it last too long.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

X-Men: Apocalypse

'X Men - Apocalypse' movie poster

Release: Friday, May 27, 2016

[Theater]

Written by: Bryan Singer; Simon Kinberg; Michael Dougherty; Dan Harris

Directed by: Bryan Singer

In the midst of Magneto’s metal-throwing rampage, a burning hot ember of emotion buried deep underneath the rapidly cooling coals of X-Men: Apocalypse, I glance over to find my friend fast asleep, head buried into his shoulder and a small puddle of drool starting to form. All I could do was smile, really. It was the perfect summation of everything I was feeling on the inside throughout much of Bryan Singer’s fourth go-around as the helmer of this most consistently inconsistent of superhero film franchises.

For about an hour I couldn’t come to terms with the disparity in quality between Singer’s previous installment and his latest; how is it possible to be so enthralled by one entry and bored to tears with the next? Seeing as though I wasn’t someone put off by the tweaks made to X-Men history in Days of Future Past, I then had the troubling thought that I was still better off than the purists, those who had a lot more invested in these adaptations.

Apocalypse is, if nothing else, a perfectly good waste of Oscar Isaac’s talents. As the titular super-villain En Sabah Nur, Isaac couldn’t look more disinterested. Was part of the plan caking the man in make-up to the point where his disgust over the poor (and I mean really poor) script would be concealed? If it was, that plan failed. In the early going Nur rises from the dead in modern (well, 1983) Egypt after being entombed under tons of rubble resulting from a last-second violent uprising that occurred during an attempt to transfer his consciousness into another mortal body. He quickly learns of how modern society has come to be and is profoundly disturbed by it. Like Tony Stark’s ultimate fuck-up, the Ultron program, Nur/Apocalypse is big on the cleansing of mankind but very slight when it comes to personality. (It’s a little painful to be comparing an Oscar-caliber actor’s charisma here to that of a robot, but here we are.)

Nur’s extinction-level plans simply boil down to nostalgia for them good ole days. With a perpetual scowl set upon his seasick-looking face, he sets about bestowing untold amounts of power upon already powerful, albeit vulnerable, mutants the world over, enticing them to join him in his effort to restore world order. His recruits include the likes of Ororo Munroe/Storm (Alexandra Shipp); Warren Worthington III/Angel (Ben Hardy); Elizabeth Braddock/Psylocke (Olivia Munn); and Eric Lehnsherr/Magneto (Michael Fassbender). While each character’s alter egos manage to jump off the page from a visual standpoint, no one other than Magneto is given anything to do. Even their action scenes register as perfunctory.

Elsewhere, mutants both new and old are . . . doing something. Charles Xavier (James McAvoy) is professing at the school where he professes things, teaching students to learn how to accept being gifted with powers; Magneto, prior to being wooed by the job offer from the False God, is eking out a quieter existence in Poland following the disastrous events in Washington D.C.; Raven/Mystique (Jennifer Lawrence) is continent-hopping as a mercenary-for-hire, rescuing fellow mutants from their current miseries all while denying her heroism. The false modesty is soooo Katniss Everdeen Gwyneth Paltrow. And we are reacquainted with sidekickers like Hank McCoy/Beast (Nicholas Hoult); Jean Gray/Phoenix (Sophie Turner); Scott Summers/Cyclops (Tye Sheridan); and Kurt Wagner/Nightcrawler (Kodie Smit-McPhee).

Aside from the dismal performance from Isaac, one that reminded me more than once of the kind of collapse Eddie Redmayne had in Jupiter Ascending last year, Apocalypse suffers from a total lack of enthusiasm in reintroducing its sprawling cast. The characters themselves, of course, are universally welcomed back, yet their presences aren’t so much felt as they are foisted upon audiences expecting an epic action spectacular. (More on that in a little bit.) It was during these protracted intros where my mind started to really wander, where my head started sitting heavy in the palm of my hand. ‘Why is this girl in front of me constantly reaching out towards the screen? Like, does she know someone in this thing or something?’ ‘Is she having spasms?’ ‘Do I need to call a doctor?’ Thoughts no one should be having during a film that features so many likable and unique characters, a film steeped in mythology now 15 years in the cinematic making, I was totally having, and constantly. It was as if Charles Xavier had somehow gained access to my cerebral cortex. Leave my cerebral cortex alone, Charles.

There is actually a defense against critics blasting Apocalypse for lacking originality in its ambitions to out-epic the competition. Sometimes a ‘back-to-basics’ approach can be rewarding. You can simplify the thrust of the narrative to the ultimate in superhero standoffs, wherein all roads to the end of days run through mutants brave enough to face up to Nur and his four horsemen. Unfortunately in this case there is such a lackadaisical attitude in bringing back the characters to face their toughest test. This is in some ways one of the most personal outings for the X-Men yet, but this latest installment feels cold and detached. Much of that can be traced to Isaac’s prominence, though the build-up to the climactic fight is just as off-putting.

Look no further than said capstone battle. Hasn’t Singer learned anything from the Bay’s and the Emmerich’s? Threat of annihilation by virtue of large-scale, pixelated destruction isn’t really a threat at all. In fairness, Singer tries to make up for some of the transgressions by ripping himself off and including another über-slow-mo sequence that shows off the greatness that is Quicksilver. That’s gotta count for something in the way of originality, right?

blahblahblahblah

Recommendation: If we’re talking hierarchy of awesomeness, X-Men: Apocalypse is a tier or two down from Singer’s previous output, Days of Future Past because it doesn’t express the same level of enthusiasm nor does the story work as cohesively as the ones that have come before it. The clichés are much harder to escape here as are the cheesy one-liners and there’s a sense of franchise fatigue. A poor performance from Oscar Isaac doesn’t help matters either. Still, there’s enough here to say I’m willing to see where the franchise goes from here. I’m also liking how the past is catching up to “the present.” It’s an interesting way to build a full and complete picture of the X-Men universe. 

Rated: PG-13

Running Time: 144 mins.

Quoted: “Does it ever wake you in the middle of the night? The feeling that one day, they’ll come for you? And your children?”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.cinemablend.com

X-Men: Days of Future Past

dofp-1

Release: Friday, May 23, 2014

[Theater]

If Bryan Singer’s latest addition to the X-Men chronicle is any indication of the summer of movies that awaits us, by the shortness of Peter Dinklage we are in for a good one!

In fact the cinematic event that Singer has recently finished polishing off is one so grandiose it might very well make the controversy that arose prior to its worldwide debut a day simply of the past. With any luck, the quality of this much-anticipated material will be enough to satisfy most blockbuster moviegoers’ palate in the coming weeks.

The last time we hung out with any mutants, it was starting to become a one-sided affair, and Logan, a.k.a. ‘the Wolverine’ seemed to be receiving more than his fair share of the spotlight. Even though at this point it’s been all but pre-determined by the studio that Hugh Jackman’s gorgeously CGI-ed biceps is what we need the most, we are inclined to agree. His understanding of the character, and his command of it has been a thrill to watch; his pain consistently strikes at the heart of the struggle of the X-Men. And despite getting to spend that much more time with his charismatic manimal in The Wolverine and X-Men Origins — it’s not really his fault his character seems to be the most compelling of those who possess the magical DNA — these considerably lackadaisical entries contributed greatly to the sense that the series itself was a dying breed. Even despite Jackman and a wealth of material still yet to be tapped.

It’s fine, though. A few steps may have been taken backward but it’s with great relief to announce that what this summer has in store for fans is something that takes leaps and bounds beyond anything that has come before it. Simultaneously a compelling merger of the mutants in their younger and older forms, and an action-packed adventure/fantasy in its own right, X-Men: Days of Future Past is thrillingly paced, hilarious and keenly self-aware; intelligent on a level the series has been clawing at but failing to breach thus far. To be fair, few films with stakes this high can afford to be all these things at once without sacrificing something.

Given the final product on display here, it’s unclear what Singer or screenwriter Simon Kinberg have had to sacrifice. We join up with the few surviving mutants who are now hunkering down in the side of a mountain as the world around them continues to deteriorate. A government-sanctioned program has spawned a third race of beings on the planet: sentient robots built with the sole purpose of targeting those with mutated gene pools. These are the creation of the sinister Dr. Bolivar Trask (Dinklage) and they are horrifyingly efficient at what they do.

The crisis has reached a point where reconciliation is all but impossible for either party, and it’s even begun to sap Professor X (Patrick Stewart)’s optimism for a future of any kind. Fortunately he’s still got one more trick up his sleeve, and that is in Kitty Pryde (Ellen Page)’s ability to project present consciousnesses of fellow mutants back in time into beings that existed back then. One snag: the critical time period we must go back to is 1973 — fifty years removed from the present, and this eliminates all mutants but Wolverine, as they won’t be able to physically or psychologically survive such a sojourn.

Wolverine’s task is to track down certain mutants in 1973. Yes, this will indeed involve the unenviable challenge of intervening during a period where a young and besotted Charles (James McAvoy) is having a bit of a spat with the similarly naive Erik Lensherr, a.k.a. Magneto (Michael Fassbender). He must organize everyone in an effort to prevent a renegade Mystique/Raven (Jennifer Lawrence) from her inevitable date with destiny, as the blue-skinned beauty has taken it upon herself to even the score with Bolivar, whom she seeks for his inexorable experimentation on her mutant friends.

There’s no room for error on her part, and ditto that for Wolverine, only with exponentially less room. Not only is he battling the conditions of the time period he’s reinserted himself into, he’s having to convince those around him that there’s a bigger picture they all must pay attention to; and this isn’t even to mention that his journeying into the past has a perpetual impact on his physical and mental tenacity. This is assuming nothing goes wrong on the other end, as well.

Days of Future Past stockpiles the thrills as its labyrinthian plot unfolds piecewise. Its similarly expansive cast is on fine form and at this point in the game its more than a little difficult to separate actor from character. Familiarity typically breeds contempt, but here it breeds a hell of a lot of fun. Comparisons to The Matrix and Marvel’s The Avengers aren’t unreasonable — the teleportation of Wolverine seems to mimic the connection between realities found in the former, whereas both scope and visual grandeur make the comparison to the latter all but inevitable.

Comparisons run amok with Bryan Singer’s new X-Men installment, but it’s as well a thoroughly well-made product on its own merits. It looks sleek and best of all, it doesn’t feel even one second over 90 minutes. The film is actually over two hours in length, and even has time to factor in an exquisitely rendered and considerably extensive slow-motion sequence, without ever feeling like it’s wasting ours. Now that is effective storytelling.

uhoh

4-0Recommendation: Was it worth the wait? You bet your mutant ass it was. Days of Future Past may stack up to be one of the most heavily anticipated films of the year, and the final product is well-equipped to handle the challenge of living up to lofty expectations — expectations made so by frequent and repeated failure to get things right before. It deftly handles a dense amount of material by seamlessly connecting stories together, with a focus on the shadow games played by Mystique and Wolverine. Enthralling to newcomers and rooted firmly in the ethos of the comic, 2014 may well have brought us the definitive X-Men movie.

Rated: PG-13

Running Time: 131 mins.

Quoted: “Maybe you should have fought harder for them.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.alternativemovieposters.com; http://www.imdb.com 

The Wolverine

The-Wolverine-2013-Movie-Desktop-Wallpaper

Release: Thursday, July 25, 2013

[Theater] 

Picking up more on where we left off after X Men: The Last Stand rather than following directly in line with the most recent release (X Men: Origins — Wolverine), James Mangold directs Hugh Jackman et al with supreme confidence in his knowledge and conviction of the essence of the comics, while also attempting to feed the masses with a broader, more blockbuster-esque appeal — ideally one that should have everyone talking fervently about it afterwards. To an extent this happened after the Thursday screening I attended, though I could sense a mixed atmosphere of excitement and quietened “that could have been better” sentiment.

Maybe it was the late hour at which this showing wrapped up, but I somehow doubt this was the real problem. There was a lack of a punch that I felt might be coming with this latest remodeling of our clawed hero. Or it might have just been one of those punches that comes in hard and then eases up just before greeting your stomach, letting you off the hook as far as taking some real pain is concerned. Mangold seemed to go this route with his directorial touch.

The Wolverine begins with a damn bang. Japan. World War II. The last days are laying waste to the Japanese landscape, and there amidst the chaos is Logan/Wolverine, who has managed to become the next P.O.W.; fortunately he uses his powers to save a camp worker (a man named Yashida) who is debating the merits of dying a noble death (by committing suicide) or letting the ensuing atom bomb devastation do the job. Wolverine intervenes, saves the guy and himself from the blast, and we then see that this has all been a flashback, and a thoroughly gripping one. A strong start to the film.

Unfortunately it was immediately after this where things took a turn to the familiar, and the resultant film pans out to be little more than a hodgepodge of the spirit of the comics — even if it is well-suited and recaptured here — and several nondescript kung fu films, only shot much better and with no funny spoken/translated overdubs. Indeed, there is a lot to like and be easily entertained by in the adventures Logan/Wolverine has when he’s one day summoned back to Japan in order to bid farewell to the ailing man he saved those many years ago. When a bar fight breaks out in an area where Logan is currently holding up in, he meets a young girl named Yukio (Rila Fukushima) who insists he go pay Yashida a visit. We are provided the initial hesitation at first, with Wolverine claiming his home is here, in Canada; but eventually he caves and yields the movie.

Of course, Yashida has more on his mind than just having a pleasant chat with Logan. The head of an international technology developer that specializes in medicinal research, the man whom Wolverine had saved finally tells him that he can “fix” Logan’s immortality. He knows of a way to introduce his amazing healing powers into another person; as if his inability to die is some sort of dormant genetic trait. Yashida gives him the chance to lead a normal, mortal life. Cue Wolverine’s polite “Thanks, but no thanks.”

During the brief time he stays with Yashida he meets his son, Shingen, and his granddaughter Mariko (Tao Okamoto). After a few suspicious events transpire, Wolverine soon finds himself becoming Mariko’s protector, despite her requests to be left alone. No can do, apparently, as the strange but dangerous aura surrounding her keeps Logan intrigued. And even despite his constant struggle with his nightmares of Jean Grey and other events, he manages to keep focused on his mission to protect her and get to the bottom of her situation.

Along the way, he finds out that he’s in deeper than he thought; members of the Yakuza are quickly implicated as they take Makiro hostage during a funeral procession for Yashida, and in the process, Wolverine gets injured and realizes he isn’t so quick to heal now. It turns out the Yakuza certainly aren’t the only baddies to worry about here; no, a much more intimidating — is intimidating the right word? — villain remains at the center of our main conflict. Viper, chosen for whatever reason to be the villain in this edition of the X-Men franchise, single-handedly destroyed a lot of the momentum for me. Played by a terribly bland Svetlana Khodchenkova, this mutant is meant to be the true opponent to Wolverine, but she winds up doing more damage to the movie than to our clawed hero. Either the casting was a poor choice, or the intention was to make this villain seem as calm, cool and coldblooded as possible. Whatever it was, she just does not work here at all and from the moment she was introduced to the story, The Wolverine started losing credibility with me.

But perhaps that’s not fair to say. The movie doesn’t intend to win any Oscars, therefore I maybe shouldn’t take the movie so seriously. It’s meant to be an entertaining, light-hearted affair. Unfortunately, though, the previews and trailers released weeks and months prior were telling a very different story. I got the impression we were in for a darker, more brooding story. That is true of the character of Wolverine — he’s perpetually miserable in this movie, constantly awakening from horrible dreams and fearing for his life around many a corner. He’s been cursed with the ability to live forever, yet someone challenges him in the beginning to take on a life of mortality. These things do take their toll on the character, and that was interesting, yes. But the story simply crumbled around him in comparison.

And Hugh Jackman, of course, is as likable as always. I have no problem whatsoever with the work he turned in here in 2013, despite the fact he’s not doing anything radically different than from before. Additionally, I must give credit to the main girls following in Wolverine’s tracks: Yukio and Makiro both are intriguing characters and aren’t quite as cardboard as the Viper. Yukio is a brilliant girl who can “see” or “feel” what’s going to happen in the future and acts as a bodyguard to the temporarily ailing Wolverine, a relationship that allows a few jokes here and there. Makiro is convincing enough as the damsel in distress, and although its a cliched character arc, her situation managed to make me empathetic.

the-wolverine-1

2-5Recommendation: Most of my disappointment, it should be noted, could be traced back to the pre-release hysteria coming from the studio. “Wolverine fans, rejoice. This is the movie you’ve been waiting for. . .” Given the fact I am not the most devoted follower of the X-Men story to begin with, it might be easier for me to think this has turned out to be a bit of a lie. More passionate fans might find themselves enjoying this much more freely. There’s not much that distinguishes it from its downright corny predecessor. Lest I sound ignorant to what the spirit is all about in the superhero realm, it’s okay to be corny but it’s not okay to be unoriginal and lie about it being original.

Rated: PG-13

Running Time: 126 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.filmofilia.com; http://www.imdb.com