What lies ahead is an unedited jumble of words, thrown onto a blank sheet of paper late at night after seeing a movie. Enjoy at your own risk.
I have a relatively low resting heart rate; I don’t know exactly what it is, but if I had to take a guess I’d say somewhere around 55 BPM. But after sitting through Logan, the new Wolverine (X-Men) film, it feels as if my heart’s been beating at a minimum of 90 BPM for the past 2h 15m. No, Logan, this is not me complimenting you, this is me telling you (well, I guess this is me telling the man in charge of Logan, dir. James Mangold [known for Walk The Line and 3:10 To Yuma and “known for” Knight & Day and The Wolverine]) that you don’t have an ounce of delicacy, an ounce of anything that makes my heart do anything but go thumpthumpthumpthumpthumpthumpthump or THUMPTHUMPTHUMPTHUMPTHUMPTHUMPTHUMP or sometimes, but much less frequently, THUMPTHUMPTHUMPTHUMPTHUMPTHUMPTHUMP!!! Instead, Logan, youbarrel your way through your runtime at a rapid (albeit not really efficient) pace, just as my heart attempts to barrel its way out of my body just so that it can take a goddamn break.
Ugh. I don’t even know if I want to write about this movie. What is there really to say?
In tandem with this review is the debut episode of a new podcast with Sam Barnett (who runs his own blog, 20/20 Film) and Drew Elder, who does our sound and music (you can find more of his work on his SoundCloud page). If you have the time, feel free to give it a listen. If you don’t need the review, we also have a Bottom 5 list of our least favorite Marvel films.
Despite an introduction riddled with horrid special effects and a bizarrely simplistic pyramid design flaw, there’s a brilliant simplicity to X-Men: Apocalypse‘s titular villain; he ruled the world once and became drunk on his power, so it only makes sense that when he wakes up 5,000 years later he wants to rule it again. Handled properly, it’s a setup that could’ve provided Marvel with their best antagonist since Loki, especially when you consider Oscar Isaac’s acting chops, which makes it even more disappointing that Bryan Singer botches the most recent installment in the X-Men franchise.
Due to the release of Denis Villeneuve’sSicario, it seemed necessary to backtrack through his recent filmography and see what I was going to get myself into when I head to the theater to watch Benicio Del Toro, Emily Blunt and Josh Brolin fight the drug war. The man set to helm Blade Runner 2certainly attracts big talent (just look at the cast list for Prisoners––Jake Gyllenhaal, Hugh Jackman, Terrence Howard, Viola Davis, Paul Dano…) and it isn’t too difficult to see why. His past three films are relatively simple-concept, relatable films: Jake Gyllenhaal discovers there’s another person who looks like Jake Gyllenhaal in Enemy, Hugh Jackman’s daughter goes missing in Prisoners, and there’s a drug war in Sicario. But just because A-Listers flock to his films doesn’t make Villeneuve an A-List director. Yet. Continue reading “REVIEW: “Prisoners” (2013) and “Enemy” (2013)”