1 post tagged “hugh jackman”
Unlike
the late night fox that picks your rubbish clean looking for treasure,
the film studio of the same name apparently takes that treasure and
turns it into complete rubbish. This is especially true of their comic
book properties.
Picking the gristle of the Fantastic Four debacle from his teeth is Fox studio exec Tom Rothman. And by all reports it’s his repeated interference in the production of ‘X-Men Origins: Wolverine’ that has resulted in this mediocrity.
Look at the title. It’s bad enough they’re going down the now wizened route of origin story, one that disperses the final wisps of mystery and punctures resulting tension, but this title babies an audience of presumed idiots. Those who have already forgotten this movie is the result of a successful franchise.
What’s worse, one of the worst flaws of this film rests on dumb irony. Trying to tie it to current continuity and give it more resonance they’ve muddied the waters further with adamantium bullets that turn Logan’s amnesia into goofy contrivance, a young Cyclops and, inexplicably, new character Emma Frost, a mutant that we have yet to see again.
Fox’s lack of faith in the comic material they have in front of them seems baffling when you consider Warner Bros. and Christopher Nolan’s artistic freedom and faith in Batman’s history or Marvel striking off on their own with ‘Iron Man’ and set to produce a connected movie universe.
Instead of those blockbusters, Fox gets a complete mess. Striking an uneven tone right from the start, all the epic potential from the trailers is dumped into the opening credits: a vigorous war montage that suggests exciting action, bold cinematography and a ferocious pace.
Why then are we instead introduced to Team X, supposedly a black ops unit and yet they walk right up to a mission objective looking like a bunch of narked-off strippers. Why go for subterfuge when a gay wisecrack in a lift would be far more apropos. And it’s like this for the rest of the movie: a cinematic scrap between studio-approved banality and fleeting moments of drama.
There’s no doubting Jackman’s presence, and Wolverine is one of, hopefully, many defining roles for the actor. Unfortunately he’s hamstrung by a script that spreads all of his character’s facets amongst the supporting cast. Whether it’s the motormouth merc Wade Wilson (Ryan Wilson, reprising his Hannibal King routine), later the mutant menagerie Deadpool, the tragic Bolt (Dominic Monaghan, probably the best thing in the movie) or the mysterious Gambit (Taylor Kitsch), each of them evince more humour, emotion and wolfish charm than Jackman’s Logan.
Even Liev Schreiber (a massive improvement on the previous actor), playing villain Sabretooth, has more bite and animalistic energy, leaving Jackman to pull off ferocious poses that look rather absurd surrounded by this puff piece. In fact, rather than elevate the character, it’s a regression, declawing the rebel with dubious morals and turning him into little more than Superman in a bad leather jacket.
The uneven tone aside, the script is a mess of moral platitudes, perfunctory twists, and an all too familiar redemption theme as Logan fights to prove he is not the animal a better film would have willingly indulged and still succeeded in ensuring the audience’s sympathies. Instead of rounded characters, it’s a who’s who of mutant kind that rather than sating the fans and thrilling the audience, instead, annoys and confuses them both equally.
The defining moment, the torturous baptism of liquid adamantium that transforms Logan into Wolverine, is less excoriating and more a disappointing signal of the film’s turn. Rather than let our hero suffer for a moment in the wilds, we’re inflicted with a moment of goofy comedy as an old couple spots him streaking across their ranch.
In between moments of slapstick as Logan examines his new metal claws and destroys a bathroom, sage advice is imparted by the wise old man. Fortunately he is able to gift that familiar leather jacket before the couple is cut to pieces by one of Logan’s pursuers.
While the climax is grounded in the reality of the Three Mile Island meltdown, the location for the mutant equivalent of Guantanomo Bay, it’s undercut by the hysterical comic book destruction wreaked by the characters. It’s this strange back and forth in the script, this schizophrenic setting up and then breaking down of logic that runs through the whole film and truly scuppers the movie.
In fact, when a small moment involving Monaghan’s Bolt early in the film expresses more sad humanity than all the heroic posturing in the climax, you realise this movie was doomed from the start.
Picking the gristle of the Fantastic Four debacle from his teeth is Fox studio exec Tom Rothman. And by all reports it’s his repeated interference in the production of ‘X-Men Origins: Wolverine’ that has resulted in this mediocrity.
Look at the title. It’s bad enough they’re going down the now wizened route of origin story, one that disperses the final wisps of mystery and punctures resulting tension, but this title babies an audience of presumed idiots. Those who have already forgotten this movie is the result of a successful franchise.
What’s worse, one of the worst flaws of this film rests on dumb irony. Trying to tie it to current continuity and give it more resonance they’ve muddied the waters further with adamantium bullets that turn Logan’s amnesia into goofy contrivance, a young Cyclops and, inexplicably, new character Emma Frost, a mutant that we have yet to see again.
Fox’s lack of faith in the comic material they have in front of them seems baffling when you consider Warner Bros. and Christopher Nolan’s artistic freedom and faith in Batman’s history or Marvel striking off on their own with ‘Iron Man’ and set to produce a connected movie universe.
Instead of those blockbusters, Fox gets a complete mess. Striking an uneven tone right from the start, all the epic potential from the trailers is dumped into the opening credits: a vigorous war montage that suggests exciting action, bold cinematography and a ferocious pace.
Why then are we instead introduced to Team X, supposedly a black ops unit and yet they walk right up to a mission objective looking like a bunch of narked-off strippers. Why go for subterfuge when a gay wisecrack in a lift would be far more apropos. And it’s like this for the rest of the movie: a cinematic scrap between studio-approved banality and fleeting moments of drama.
There’s no doubting Jackman’s presence, and Wolverine is one of, hopefully, many defining roles for the actor. Unfortunately he’s hamstrung by a script that spreads all of his character’s facets amongst the supporting cast. Whether it’s the motormouth merc Wade Wilson (Ryan Wilson, reprising his Hannibal King routine), later the mutant menagerie Deadpool, the tragic Bolt (Dominic Monaghan, probably the best thing in the movie) or the mysterious Gambit (Taylor Kitsch), each of them evince more humour, emotion and wolfish charm than Jackman’s Logan.
Even Liev Schreiber (a massive improvement on the previous actor), playing villain Sabretooth, has more bite and animalistic energy, leaving Jackman to pull off ferocious poses that look rather absurd surrounded by this puff piece. In fact, rather than elevate the character, it’s a regression, declawing the rebel with dubious morals and turning him into little more than Superman in a bad leather jacket.
The uneven tone aside, the script is a mess of moral platitudes, perfunctory twists, and an all too familiar redemption theme as Logan fights to prove he is not the animal a better film would have willingly indulged and still succeeded in ensuring the audience’s sympathies. Instead of rounded characters, it’s a who’s who of mutant kind that rather than sating the fans and thrilling the audience, instead, annoys and confuses them both equally.
The defining moment, the torturous baptism of liquid adamantium that transforms Logan into Wolverine, is less excoriating and more a disappointing signal of the film’s turn. Rather than let our hero suffer for a moment in the wilds, we’re inflicted with a moment of goofy comedy as an old couple spots him streaking across their ranch.
In between moments of slapstick as Logan examines his new metal claws and destroys a bathroom, sage advice is imparted by the wise old man. Fortunately he is able to gift that familiar leather jacket before the couple is cut to pieces by one of Logan’s pursuers.
While the climax is grounded in the reality of the Three Mile Island meltdown, the location for the mutant equivalent of Guantanomo Bay, it’s undercut by the hysterical comic book destruction wreaked by the characters. It’s this strange back and forth in the script, this schizophrenic setting up and then breaking down of logic that runs through the whole film and truly scuppers the movie.
In fact, when a small moment involving Monaghan’s Bolt early in the film expresses more sad humanity than all the heroic posturing in the climax, you realise this movie was doomed from the start.
