REVIEW: Logan

It's almost easy to forget just how old the X-Men film franchise is. The first movie came out back in 2000 and very few things since have stayed consistent (especially when it comes to both quality and continuity). After nearly two decades, we've had some excellent films (X2, Deadpool) and some not-so excellent films (X-Men Origins: Wolverine, X-Men: Apocalypse), as well as more in-universe reboots, retcons, and time-travel shenanigans than anyone could have predicted (X-Men: First Class, X-Men: Days of Future Past). Throughout all of these sequels and prequels and alternate timelines, there has been one constant in each and every X-film (with the exception of Deadpool); Hugh Jackman as Wolverine. For the past 17 years, Jackman has been the only actor to portray Logan on the big screen; he made the role his own and now, in Logan, he sets out to give the character the swan song he deserves in his final appearance as Wolverine.

The year is 2029 and mutants are all but extinct. The X-Men are a distant memory and Logan (Hugh Jackman) finds himself working as a chauffeur to support an ailing Professor Xavier (Patrick Stewart). The years haven't been kind to them; Logan's healing factor isn't what it used to be and Xavier is suffering from a degenerative brain disease (which, considering his telepathic abilities, makes things far more dangerous and complicated than one would hope). Their quest to escape persecution and live out their remaining days at sea is interrupted by the introduction of Laura (Dafne Keen), an 11-year old mutant who's on the run from the shadowy Transigen corporation. At Xavier's insistence, the three set off on a cross-country road trip to shepherd Laura to safety, all the while being pursued by Transigen's head of security, Pierce (Boyd Holbrook), and his team of Reavers.

This is the very definition of a multi-genre film. Naturally, it's a comic adaptation, and while it falls into the superhero genre, it's far more low-key than something like The Avengers. This is the story of a broken man learning how to be a hero once more, and the overall themes of sacrifice and redemption are core ideals of the superhero archetype. At the same time it's also a western, taking inspiration from classics like Shane and employing hefty doses of Johnny Cash music and iconography throughout. The dusty, southwestern landscapes give things a vaguely post-apocalyptic feeling, despite plenty of evidence to the contrary (Las Vegas is as popular as ever and limousine services are still in high demand); as far as Logan and the Professor are concerned, the world may as well have ended years ago. 

Director James Mangold also took inspiration from classic film noir and German expressionism, citing their similarity to comic book panels in terms of lighting and framing. As a result, we have an utterly gorgeous film that manages to leave a real visual imprint, and all without a single destroyed city or exploding setpiece. The action here is purely in service of the story and characters (rather than what will make for a good "wow" moment in the trailer), so every fight scene feels both necessary and incredibly visceral. Wolverine's most obvious superpower is built entirely around slashing and stabbing, and here we finally get to see that power at its goriest. Similarly, the stakes are far lower than your standard superhero fare. Like Deadpool, this is a film where the world isn't hanging in the balance; the conflict is far more personal, allowing us to form a more intimate connection to our protagonists. This is a film that isn't afraid to get close to its audience and sink its proverbial claws right into your heart.

It might sound like a laugh to call this a family road trip movie, but that's not an entirely inaccurate description. The X-Men series is very much about family; in Logan, we see Professor X and Wolverine coping with the loss of that dynamic. With the addition of Laura (who has never been able to experience life as a normal little girl), the three are able to come together and rediscover what it feels like to love and be loved. It's fitting how Logan, a film starring a character whose mutant power is regenerating from wounds, is thematically all about healing after past traumas. Logan, Xavier, and Laura all have their crosses to bear, and they gradually learn to make peace with themselves over the course of the film. It's a really excellent character study that doesn't miss a beat; I sometimes found myself surprised by just how invested I had become whenever the tension flared up. This is a movie that will make you feel things, especially if you're one for parent-child dynamics.

Of course, all of that emotion is thanks largely in-part to a stellar lineup of actors. The supporting cast members all do their jobs well (Holbrook is easy to root against and Stephen Merchant wields a surprising amount of dramatic energy as Caliban), but this movie is very clearly all about the main trio of Logan, Charles, and Laura. These three are so good that I really can't decide who I liked more. Hugh Jackman meant for this to be his swan-song as Wolverine, and I honestly can't think of a more fitting send-off for the role. As I mentioned, he's played the part for the past 17 years. In that time, he's completely captured every aspect of Logan's personality; both the tortured immortal and the feral beast. We've watched him portray this character for nearly two decades, and every ounce of emotion implied by that statement is visible in his performance. 

Meanwhile, Patrick Stewart takes the character of Charles Xavier in a very different direction. Normally the calm, collected voice of reason, we now see Xavier's age starting to get to him. His mind isn't what it once was and Logan is forced to assume the role of his primary caregiver, very much in the way that many adults are eventually forced to care for their elderly parents. Gone are the days when Charles Xavier owned and operated a school for gifted youngsters; now he needs physical assistance to use the bathroom and get into bed. It's a humbling portrayal of a character who acted as a mentor to generations; children who saw him command the X-Men in 2000 are now adults themselves. His is a situation that is all too real, and is sure to hit close to home for many (myself included). This is just as much of a send-off for Patrick Stewart as it is for Hugh Jackman, and I wholly believe this is something they can (and should) be proud of. That said, the standout of the main cast for me was newcomer Dafne Keen as Laura (better known to comic and fighting game aficionados as X-23). This is her film debut, yet she manages to match the intensity and emotion of Hugh Jackman and Patrick Stewart (who are both very much on their A-game here). That feat alone, I feel, is worthy of note; I hope to see her in more.

What else can I say about Logan? It's basically a perfect film. Plenty of condescending snobs will say things like "Logan is an excellent film, despite being a comic book movie" or "surprisingly, Logan manages to transcend its superhero trappings and deliver something of genuine quality". Not only are statements such as these unapologetically pretentious, they're also completely missing the point; Logan hits as hard as it does, not in spite of its comic book origins, but because of them. Had this film existed on its own with no X-Men franchise behind it, it would still be a well-made, well-acted movie. But the fact that this feels like a culmination of 17 years' worth of ups, downs, and blockbuster iconography (and manages to exceed all expectations to boot) adds a vital element that simply wouldn't exist, were this not part of a long-running superhero franchise. More to the point, Logan is proof that comic books can lead to films that amount to more than a series of expensive CGI laser beams being fired at a bland villain. This is proof that a superhero blockbuster need not rely on city-leveling climaxes and sneaky sequel teasers in order to make money and please an audience. Moreover, Logan is proof that, when a film is motivated by artistic vision rather than by revenue, movies about superhumans can end up being the most human stories of them all.

REVIEW: The Good, The Bad, The Weird

Every so often, it's fun to throw caution to the wind and just watch something you've got absolutely no prior knowledge of. Sometimes you end up with something mediocre, like Moonwalkers. Sometimes you end up with something mind-numbingly awful, like Killer Mountain. However, every once in a while, you'll find something that's just a load of fun. A film that is not only entertaining, but memorable in a distinct kind of way. Such is the case with director Kim Jee-woon's The Good, The Bad, The Weird.

Set in 1930's Manchuria, the plot begins as so many westerns do; with a train robbery. A hitman by the name of Park Chang-yi (Lee Byung-hun, "The Bad") has been hired to intercept a treasure map from a Japanese banking official. Unbeknownst to him and his gang, a bandit named Yoon Tae-goo (Song Kang-ho, "The Weird") happens to be robbing the train at the same time. Escaping in the fray with a bundle of pilfered riches (including the map), Tae-goo attracts the attention of Park Do-won (Jung Woo-sung, "The Good"), an Eastwood-esque bounty hunter who happened to be tracking down Chang-yi when the whole thing went down. What started as a simple robbery explodes into an all-out race through the Manchurian desert as Tae-goo tries to find his treasure, Chang-yi tries to find Tae-goo, Do-won tries to find Chang-yi, and the Japanese army tries to find the map.

The first thing I have to praise here is the soundtrack. The score (composed by Dalparan and Jang Young-gyu) manages to mix a classic spaghetti western sound, reminiscent of Ennio Morricone, with a distinctly modern spin. The blaring trumpets and catchy, thumping beats punctuate the action in a way that could only be described as sublime. I make no exaggeration when I say that this has become one of my new favorite film scores of all time; aside from the odd title theme here and there, modern action scores are rarely anything special, yet here's a film that ditches the booming orchestral score for something much more eccentric and energetic that makes the film that much stronger as a whole.

Given how strong the score is, it would be a crying shame if the action and cinematography were mediocre by comparison. Thankfully that's not the case here. Despite the film costing a meager $10 million US to make (for comparison, Django Unchained and the upcoming Magnificent Seven remake both boast budgets that are literally ten times that amount), it's packed to the gills with fantastically shot action setpieces and stuntwork. The film is reminiscent of the Indiana Jones series in some respects, seamlessly merging badass, bloody violence with mild comedy, all while incorporating physical sets and thrilling chase scenes. While the gunplay and fisticuffs may prove exhausting to some, I found myself grinning like a madman at each intricate confrontation; this is a film that shows the true worth of action that is well-shot, well-choreographed, and above all, organic.

That said, there are gaps in between the bombastic fight scenes in which the film's pacing can slow to a crawl. While all of our main characters are charismatic and interesting in their own, unique ways, I felt myself growing anxious from time to time, eager to see guns drawn and blood spilled. The story can become a bit muddled and hard to follow at times, though I feel this may simply be the penalty that so many foreign films must face when confronted with a foreign audience. Though the film is very clearly ripe with homage to the spaghetti westerns of the past (Variety's Derek Elley described the film using the delightful phrase, "kimchi western"), it occasionally toes the line of being derivative. The climax, as well as the characterization of our three main characters, are ripped straight from Sergio Leone's Dollars trilogy; the film is definitely engaging on its own, but it's totally transparent to see where the filmmakers' inspiration was lifted from. Then again, A Fistfull of Dollars was clearly inspired by Akira Kurosawa's Yojimbo (to the point that Toho was able to successfully take Leone to court over the matter), so it can easily be said that homage is an often essential part of making great narrative art.

The Good,The Bad, The Weird is just a righteous good time. Although it can drag somewhat at times, the strong action and endearing characters more than make up for any of its faults. Sometimes it's fun to go with a wildcard and watch something completely outside of one's comfort zone. Often there's no better source for such movies than in the realm of foreign cinema. As I've proven with The Good, The Bad, The Weird, there's a good chance you might just stumble upon a hidden gem you wouldn't have found otherwise. Definitely definitely give this one a watch.

REVIEW: The Good Dinosaur

Despite the concept of a Pixar film about dinosaurs being a literal childhood dream come true, The Good Dinosaur ended up being one of the more low-profile releases of last year. Following the monumental success of Inside Out is hardly an easy position to be in, especially when it found itself sandwiched between the final installment of The Hunger Games and the yearly onslaught of holiday fodder. Wholly under-promoted following a troubled production, the film made lackluster numbers at the box office and disappeared quietly back into Inside Out's shadow. In my opinion, a fate undeserved; while The Good Dinosaur is hardly Pixar's strongest feature, I feel as though it is easily one of the studio's most visually impressive (and possibly most daring) films to date.

The setup is delivered within the opening moments of the film; what if the meteor that wiped out the dinosaurs... missed? Rather than face extinction, the terrible thunder-lizards continued to evolve and develop in a similar fashion to early man, forming farming communities and cultivating the land to suit their needs for survival. Our story focuses on Arlo (Raymond Ochoa), the cowardly runt of a family of apatosaurs who grow crops on their meager homestead. After an accident concerning a feral caveboy (Jack Bright) sends Arlo floating downriver, he's forced to join forces with the troublesome critter in order to survive. Dubbing the neanderthal "Spot", the two try to make their way home, all while facing that eternally merciless gauntlet which is Mother Nature.

Right off the bat, detractors will point out how this plot is similar to so many Pixar films which came before it. Toy Story, Toy Story 2, Finding Nemo, and even Inside Out, released the same year as The Good Dinosaur, all focus on an unlikely pair or group trying to find their way back to where they belong. It's reasonable to say that it's a formula for the folks at Pixar by this point, though I see no real issue with continuing the trend so long as they continue to make it work as consistently well as they're able to. "Road trip" is a fairly broad label to apply to such a number of films; there is a journey involved, yes, but the actual adventure takes a backseat to the emotions at play. This is a film about loss, forgiveness, acceptance, and overcoming one's fears. Above all, this is a film about a boy and his dog (even though the dog in this case is a human being).

Make no mistake; while The Good Dinosaur doesn't quite reach "Toy Story 3 incinerator scene" levels of dire, this is a strong contender for Pixar's heaviest film to date. Our adorable protagonists are constantly battered and bruised and death is a ever-present danger out in the wild. While nature itself is the primary antagonist at play here, there are still a number of unseemly characters introduced who have absolutely no qualms about attempting to murder and/or devour Arlo and Spot. While I enjoyed the backwoods charm of the cabal of cattle-rustling velociraptors, I must call particular attention to the band of fanatical pteranadons led by Steve Zahn, channeling a legitimately threatening mix between a cult leader and a serial killer.

I found the tone of the film to be heavily reminiscent of the works of Don Bluth; while there are moments of very well-executed comedy and whimsy, this is very much a film that takes itself seriously for the most part. Despite the cartoony design of the cast, the near-photorealistic environments give everything a heightened sense of grit. Arlo is soft and thoroughly huggable, but when he bruises himself after slamming into a rock, we are able to feel the impact. This is a world which has genuine weight to it in every sense of the word. I honestly cannot gush enough about what a feast for the eyes this movie is. We live in an age where CGI films are commonplace; it feels as though a computer-animated feature can't be considered impressive anymore unless it manages to think outside the box in regards to its aesthetic, such as with The LEGO Movie. This is a film that, instead of using the technology available in a new and interesting way, simply generates some of the most stunningly gorgeous visuals I've ever seen in a film of this kind. I'm not sure if I've ever let out an audible gasp in response to a shot of running water before, but The Good Dinosaur might just be the prime example from this point on.

As I mentioned, Steve Zahn is wonderfully intimidating as Thunderclap the pteradactyl, and I really enjoyed Raymond Ochoa as Arlo. It's a role that very easily could have been grating and irritating had the wrong voice been cast, so it's a good thing to note that our primary protagonist is endearing until the end. The highlights by far, however, had to be Jeffery Wright as Henry, Arlo's father, and Sam Elliot as Butch, a raspy tyrannosaurus patriarch who ranches longhorns. Both exude grizzled, distinctly paternal wisdom with every line, really helping to seal the country-fied tone the film has going for it. As dark as things get, this is a film rife with feel-good moments of growth and responsibility, like a southern coming-of-age novel that happens to star talking dinosaurs.

All in all, I find The Good Dinosaur to be one of Pixar's most underrated works of all time. Though the plot tends to meander and not all children may be endeared to its rough, emotionally-heavy tone, I found it to be a rewarding experience all the same. It has its flaws, but it also represents significant risks taken by a studio that could easily live comfortably off of lackluster Cars sequels until the heat-death of the universe. While it's not perfect, I feel as though the risks taken in terms of story and tone paid off, resulting in a powerful, heartfelt, and visually gorgeous film. It's hardly destined to be anyone's favorite Pixar movie, but I strongly believe that, despite all the production issues and meager box office earnings, The Good Dinosaur is most definitely a good film.