Logan (2017) – Movie Review

logan

“Nature made me a freak. Man made me a weapon. And God made it last too long.” Logan (Hugh Jackman)

God is allowing us to enjoy the last in the X-Men /Wolverine cycle with Hugh Jackman having endured 17 years of pumping up to give adolescent males a reason to get up for the demands of an unforgiving world. However, this film, Logan, is not all blood and guts—it presents an aging hero coming to terms with the natural degeneration of his greatness and his legacy.

It’s really all about how these mutants, who clearly represent the fringes of society with odd residents marginalized by the homogeneity of the world. Inevitability hangs over this substantial hero saga, especially an iteration that suggests what even super heroes long for— immortality through lineage or enduring philosophy.

As the founder of the mutant school, Charles Xavier (Patrick Stewart), tells it to Wolverine: “This is what life looks like: people love each other. You should take a moment . . . .” The film is suffused with a sense of the importance of family, not just Logan and his daughter, Laura (Dafne Keen), but also the new generation of mutants who must band together to survive.

The heroism turns on love rather than technology. The love is familial, in this case Logan discovering his daughter then sacrificing his safety to escort her to Eden, a place with other child mutants, who must hide from the dark forces bent on using them as soldiers. Although such bonding is the stuff of cliché, this film makes the growing love and sacrifice believable.

In the end, the search has been to discover what it’s like to live and love normally. Albeit briefly. Amidst the sturm and drang of violent, bloody super hero films, and this one has as much violence as any other, the discovery of homely love is the greatest adventure of all.

 

10 out of 10 stars

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The Amazing Spider-Man (2012) – Movie Review

amazing spider-man

The Amazing Spider-Man is directed by Marc Webb and collectively written by James Vanderbilt, Alvin Sargent and Steve Kloves. It stars Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Martin Sheen and Sally Field. Music is by James Horner and cinematography by John Schwartzman.

Peter Parker (Garfield) was orphaned as a boy when his parents were killed in a plane crash, raised by his Uncle Ben (Sheen) and Aunt May (Field), he is a clever lad but something of an outcast at high school. While investigating the disappearance of his parents and sporting a crush on class mate Gwen Stacy (Stone), Peter’s life is tipped upside down when he is bitten by a radioactive spider that gives him abnormal powers.

While the Spider-Man franchise doesn’t (thankfully) come packaged with the kind of bizarre mania that comes with Batman, the acolytes are a tough bunch to figure out. Sam Raimi’s trilogy garnered close towards $2.5 billion worldwide, yet now, with this reboot (actually it’s a reimaging) trundled off of the Sony production line, there are plenty of “fans” coming forward to say they never rated Raimi’s films! Magurie was this, Dunst was that, Raimi missed the beat of the comic version of Spidey and etc and etc. Well I’m sorry, but I just don’t remember any fall out apart from the near unanimously agreed upon over stuffing of Raimi’s part 3. Perhaps I just didn’t go on the right Spider-Man forums? But even then it’s hard to argue with a box office take of $2.5 billion, those figures have to be made up of a good proportion of Spidey fans, surely? You would reasonably think…

I mention it because The Amazing Spider-Man has met with reviews from each end of the scale. Those at the high end who support the “reimaging” seem to focus on it being close to the real Spidey universe they wanted, with great casting, better effects work and a origin story of worth. At the other end is the arguments that “reimaging” a film that is only ten years old is daft, especially since it actually doesn’t bring the promised new direction or origin story of worth. In fact it just juggles bits of the Raimi trilogy and plays it out with other Spider-Man characters instead. While Garfield is hardly an improvement since he’s way too old for high school as well! The truth is that Webb’s movie falls somewhere in between both sides of the argument, and that’s not just me being Switzerland and staying neutral!

Negatively it plays out as a compromised production and not the film that the makers initially set out to make, there are too many dangling threads and haphazard edits that leave narrative gaps. An Important character disappears off the radar, other characters are given limited time to breathe, and crucial plot points are arrived at with stupendous leaps of logic. A coda spliced into the end credits tries to entice us for the sequel, suggesting that the quick wipe over the origin “origin” story was deliberate, it’s unlikely, and feels like an afterthought. For a film that purports to be putting its own stamp on the Spidey universe, it quite often makes you think of Raimi’s films anyway. It may be The Lizard instead of Green Goblin and Gwen instead of MJ, but the emotional and psychological beats are still the same. Reboot? My arse. Oh and Horner, who I’m normally a fan of, has turned in a score that lacks vim and vigour, it aspires to be full of swirling superhero fervour to raise the goose flesh on your arms, but instead it’s just goose, and not a decently cooked one at that.

However, on the positive side of things, low expectation really helped me to enjoy the film, and I even watched it a second time to check over some initial reactions I had. There is still a lot to enjoy here. Acting is of a high standard (Ifans’ performance as Curt Connors gets better on repeat viewings), with good chemistry generated between Stone and Garfield, the effects work is (obviously) better ten years on; something which gives us a better-more acrobatic-moving Spider-Man, while the whole make-up of Parker as a geek who becomes cocky, even arrogant, really adds a kick to the first half of the movie’s coming-of-age narrative bent. It’s also good that with a running time of over two hours the makers have the time to expand Peter as a character, making the audience wait with expectation of his life changing date with the spider. As for the villain, it’s true enough to say that The Lizard is hardly an inspiring choice, but it does fit in with the whole origin story plan that Webb and his team want to tell. Though it should be noted that those seeking wall to wall fights between Spidey and The Liz are going to go a little hungry.

It’s big on human story and not the lazy cash in movie it could have been, and undeniably it’s fun, but the holes, dangling threads and logic leaps stop it breaking out to achieve its intentions. I was left looking forward to the sequel.

 

7 out of 10 stars

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Spider-Man 3 (2007) – Movie Review

spider-man 2007

This is a good film, but it is not on the same level as the first two. There are many good ideas to be found in the script by Sam Raimi, his elder brother Ivan and Alvin Sargent and it is quite well written but it is overstuffed. The film is surprisingly well paced considering its somewhat sprawling storyline and the fact that it is the longest of the trilogy. It is well directed by Sam Raimi but the action scenes are generally not the equal of the second film’s.

Tobey Maguire is again very strong as Peter Parker, who seems to have finally achieved the balance in his life that eluded him for most of the second film. In spite of J. Jonah Jameson’s best efforts over the years, the people of New York City have embraced Spider-Man as their hero. When it comes to his personal life, Peter is living the dream as he has been dating Mary Jane Watson for some time and he is planning to propose to her as soon as possible. Kirsten Dunst is good in the role but the material lets her down a bit. Mary Jane is having less success given that her career as a Broadway star died a quick death when she was fired. She thinks that Peter does not understand how she feels and that he tries to make everything about him as he often turns the conversation to his career as Spider-Man. The situation is not helped by the fact that Mary Jane is jealous of him re-enacting their upside down kiss with Gwen Stacy, a young woman whom he recently rescued as Spidey who just so happens to his lab partner as Peter. After a meteorite crashes to Earth, an alien symbiote bonds itself to Peter, amplifying his negative attributes. As the newly black suited Spider-Man, he goes from being a public hero to a public menace. He becomes callous and manipulative and is prone to outbursts of anger and violence. He also changes his image and begins to strut around the streets of New York trying to impress the ladies. These scenes were not really necessary but it was for the best that they were played for laughs. I am far less certain that this was the case when it came to his dancing in the jazz bar, one of the silliest scenes that I have seen in a film of this kind. Whether or not I was supposed to laugh, I did.

In the case of the three villains, the one in which I had the most vested interest was Harry Osborn, who discovered his late father Norman’s cache of Green Goblin weapons and gadgets and has taken on the mantle of the New Goblin. Much like Dunst, James Franco is good but would have benefited from stronger material. Armed with the knowledge that Peter is Spider-Man, Harry vows to destroy his erstwhile best friend in revenge for the supposed murder of his father. To that end, he attacks Peter in the skies above New York using his glider but falls from a great height and suffers a convenient loss of memory. In the process, he forgets all about Peter’s secret life and they resume their friendship, after a fashion. Things go a bit pear-shaped, however, when his memories reassert themselves and he forces Mary Jane to break up with Peter in order to save her boyfriend’s life.

Thomas Haden Church is a perfect fit for the Marko / Sandman role but the character is fairly uninteresting, particularly the clichéd sob story concerning his critically ill daughter. I thought that it was a serious mistake and ultimately rather pointless to retcon Uncle Ben’s death so that Marko and not his carjacker accomplice was the culprit. To a certain extent, it detracted from the first film’s storyline in a way that a sequel never should. Topher Grace is likewise fine but he does not have much to do as the obnoxious, sleazy and dishonest freelance photographer Eddie Brock who bonds with the symbiote after Peter frees himself from it, becoming Venom. I was pretty disappointed that Venom only had a few major scenes as he was always my favourite villain from the 1990s animated series. I would have been perfectly happy if they had saved Venom for a later installment and jettisoned Sandman altogether so that that the film would have involved a one- on-one confrontation between Peter and Harry, which the end of the second film seemed to be hinting at. I liked the redemption story arc towards the end but more of it would have been nice.

As in the previous films, I was very impressed by J.K. Simmons as Jameson and Rosemary Harris as Aunt May. Although his appearance as Uncle Ben is disappointingly brief, the film is notable as being Cliff Robertson’s final acting role before his death in 2011. Willem Dafoe’s cameo as Norman Osborn was even more evocative of “Hamlet” than in the second film, considering that he uses the phrase “Remember me” as did the Ghost of Hamlet’s Father. Had “Spider-Man 4” been produced, I assume that Bryce Dallas Howard would have reprised her role as Gwen Stacy and the character would have been killed off, in line with the comics. James Cromwell was wasted in his brief appearances as her father Captain George Stacy but they probably had plans for him too. As the maître d’, Bruce Campbell actually got to be a nice guy to Peter Parker for the only film in the series.

Overall, this is an enjoyable film in spite of its flaws but it could have been so much better

 

7 out of 10 stars

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Spider-Man 2 (2004) – Movie Review

spider-man 2004

This is why they invented movies. It’s a dazzling story of love, loss, adventure, courage, heartbreak, tough choices, and tender feelings with a rescue from a burning building, a runaway train, a world-class villain, and a really great kiss. It is smart and funny and touching and exhilaratingly entertaining. Spider-Man 2 has sensational special effects integrated with a first-rate script and outstanding performances to illuminate the characters and tell the story — and to show us something about ourselves. But most of all, this is why they invented movies because director Sam Raimi knows how to make things MOVE.

Few movies have so mastered motion. Spider-Man (Tobey Maguire) swoops through the skyscrapers. A train hurtles across a track that just abruptly stops. A car flies through the air. Raimi is all but re-inventing cinematic story-telling before our delighted eyes.

In the first movie, we saw Peter Parker’s joy in the powers he developed after being bitten by a radio-active spider. When his Uncle Ben (Cliff Robertson) was killed because he failed to stop a thief, he resolved to devote his life to help people. And that meant no close attachments because anyone he cared about would be vulnerable to attack by bad guys who wanted to pressure him.

As this movie opens, things are not going well for Peter. Even his Spidey powers can’t get those pizzas delivered by the 30-minute deadline when there are people to save along the way. Aunt May’s application for a loan to save her mortgage from being foreclosed has been turned down. He is having trouble in school because he doesn’t have time to do the work. His best friend Harry (James Franco) is still angry because Peter won’t tell him what really happened the night Spider-Man killed his father. Mary Jane (Kirsten Dunst), the girl he loves, is giving up on him because he can’t tell her who he really is or how he really feels. He can’t even do a load of laundry without making things worse. That Spider-man suit chafes. Spidey can’t even sling those webs the way he used to. The last hors d’oeuvre at the party is always snatched away just as he reaches for it. Maybe it’s time to quit.

Harry introduces Peter to the brilliant scientist, Dr. Otto Octavius (Alfred Molina), whose devotions to his wife and his work are inspiring. Harry is financing the doctor’s experiments with fusion energy, so complex and dangerous that they must be conducted with tentacle-like mechanical arms that are controlled by artificial intelligence. But in the grand hubris tradition of myths and comic books, the experiment goes terribly, tragically wrong and the doctor’s wife is killed. The four artificial arms are fused to Octavius’ spine. Devastated by the loss and overtaken by the arms which move like serpents in the garden of Eden, he becomes a villain known as Doc Ock, stealing what he needs to resume his experiments.

But Harry controls one of those ingredients, and he says he will give it to Doc Ock in exchange for Spider-Man. Molina is brilliant in both incarnations. His kind Doctor Octavius has a glimmer of benign madness. And his Doc Ock shows us the tortured soul that cannot help being thrilled by power. The weakest part of the first movie was the villain, with his dopey mask and over-the-top monologue. But Molina’s Doc Ock is a villain for the ages, a man who shows us his real face so we can feel the struggle for his soul.

The comic book elements are all here, with spectacular fight scenes and teen-friendly existential themes. Peter has to struggle with feelings of isolation and not being understood or appreciated. He is aware of the irony of his working for justice for others when his own life is filled with people who judge him unfairly.

One of the screenwriters was Michael Chabon, who wrote a Pulitzer Prize-winning novel about comic book creators called The Amazing Adventures of Kavalier & Clay, and his rich appreciation for the mythic appeal of the comic book tradition brings depth to the story. Spider-Man and Doc Ock have many parallels. Both were granted extraordinary powers through mutations caused by accidents in scientific experiments. Both struggle with their alternate identities, represented in visual terms by frequent use of reflections. Both struggle with devastating losses. In a nice moment that gently underlines and broadens what is going on with the characters, Peter watches Mary Jane perform in a production of The Importance of Being Earnest in a scene where Cecily talks to Algernon about his pretending to be someone he is not. And a street musician sings the Spider-Man song, at first a little tentatively and off-key but then, as Spidey re-discovers who he is, with more assurance, hitting the right notes.

This is a sumptuous summer treat that succeeds on many levels. It is that rarest of treats, a popcorn pleasure with heart, soul, and insight.

 

9 out of 10 stars

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Spider-Man (2002) – Movie Review

spider-man 2002

By default, Comic Books are the perfect Pre-Viz for movies based on them. And as a long-time Spidey fan, I was able to see the panels of this comic book come to striking life, sometimes reproduced with magnificent exactness in comparison to the way the books have been drawn and colored.

As far as this initial offering goes, the choices of Tobey Maguire, Kirsten Dunst, Willem Dafoe and James Franco allowed for an almost precise match to how the characters they each portray looked in the books. The casting of Cliff Robertson and Rosemary Harris as Uncle Ben and Aunt Mae, and J.K. Simmons as J Jonah Jameson: But it was not just the casting of actors who very closely resemble the characters of the Spider-man Universe, it was clearly Sam Raimi’s direction in concert with the script by David Koepp based very closely on Stan Lee’s “Spidey” Origin Story, which made these people come alive and pop out of the comic book frames, almost into real life.

Compared to some of the other comic book adaptations, this one was done with the most amount of care and respect for the series. Just to reproduce the postures of the flying web-slinger, using some of the most famous frames from the comics, was an astounding accomplishment.

From his humble beginnings in “Evil Dead” Sam Raimi has been a clever filmmaker, especially in his ability to make splendid visual effects. Combine that with a huge budget along with Visual Effects god John Dykstra, who designed effects for Star Trek: The Motion Picture and the original Star Wars. Connect the dots with a fantastic Production Designer and Costume Designer, and it all just worked.

One of the tests of how well Digital Effects have been done are in the viewing of these films on lower-resolution mediums, like smart phone screens and Old Cathode-Ray Tube TV’s. I’ve viewed this film in each of those, and when Spidey is crawling up a wall in an obvious CGI shot, it makes you wonder if it really was CGI: In films like Daredevil, it is easy to spot the transition frames; here, it is impossible to find it.

Comparatively, the work on Captain America showing Steve Rogers as a skinny kid is very clever. Here, the same tech is used in a smaller degree to show Parker as a wimpy, skinny nerd. This is highly effective so that when Parker sees himself buffed out with his shirt off, you believe a change has occurred.

Where this film excels is in the rapidity of which it gets into the Spider-Man story, which is within the first ten minutes. As much as I do like the new Marc Webb “Amazing Spider Man” (2012) – It takes much too long to get into it, although the character development in that film is very good.

In this film however, the character development continues through the film and is incorporated even into action sequences, Continuing up to the very last frame of the film.

Ted Raimi, Bruce Campbell and Dan Hicks (Of Dan Hicks and his Hot Licks) are all inserted as cameo properly as with any Raimi film. It is Campbell himself who “names” Spider-man – Saying “The Human Spider? That Sucks!”

My few complaints revolve around the character of Peter Parker, who is fairly unlucky in the books, here he is a walking disaster area. He is the antithesis of “The Competent Man” and even when given extraordinary ability, he is still a wimp in his personality, especially in his dealing with Mary Jane Watson. Also, Peter Parker’s first Love interest was Gwen Stacy, and it was she, not MJ who The Green Goblin captured and gave Spidey the choice: Save these kids in the Cable-Car, or Save Gwen. It was a choice, and one or the other only could have been saved. Here, Gwen is completely absent, and he saves MJ with a feat even impossible for the comic- book rendition of Spidey.

But I suppose adding Gwen to the mix would have muddied up the water too much. And even though I did not like the distortion of that original classic story, they did reproduce it visually with astounding correctness, as they did with the images of Spider-Man flying through NYC. Animating several classic Steve Ditko Spidey Postures, and at the end of the film we get to see many of these animated fantastically.

But the main message: ‘With Great power, comes Great Responsibility” – As told by Uncle Ben to Peter right before his death, survives, and when coupled with Danny Elfman’s fantastic score, makes this a powerful, meaningful film.

 

8 out of 10 stars

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X-Men 3: The Last Stand (2006) – Movie Review

x-men the last stand

A departed fanboy director. A widely reported rush production. And Brett Ratner as replacement director. Things weren’t looking good for the third installment of our X-Heroes. Cynics crossed their arms in haughty resignation, while comic geeks vented their outrage in a fittingly Phoenix-inspired display. And yet despite the odds here it is, tipped as the last stand, and the fears of those expecting the worst were perhaps unjustified.

Promising more emotional grounding in his instalment, director Ratner managed to pacify the blood-braying fanboys (and girls) still reeling from the sudden departure of fan favourite Singer. A snazzy trailer helped, showcasing some saliva-inducing imagery, and confirming that Ratner was faithfully sticking to Singer’s staunch visual style. The question remained, however; could he follow through and create an X adventure worthy of its highly acclaimed predecessors? The surprising answer is yes. And no. Well, sort of. X-Men: The Last Stand is a leaner, more streamlined entry excelling in slick sets, breathtaking action, and top-notch special effects. This is a summer blockbuster to the core, and damn proud of it.

Ratner’s presence behind the camera is unmistakable, and it is undeniably his crowd-pleasing instincts that steer X3 through the pitfalls of studio money-spinning agendas that surrounded the production. Unleashed on his audience is an infectious enthusiasm for visual spectacle that generates satisfyingly outrageous cinematic results. Not only are we are afforded a spectacular face-off at the Grey residence, but also the stunning sight of the Golden Gate Bridge being magnificently relocated, and a striking finale in which the world is literally turned upside down in an emotional confrontation.

This, however, is a film creaking with franchise baggage. The events of not one, but two previous X films bear down on Ratner’s film like the fists of Colossus, giving it a somewhat schizophrenic ambiance. The thrill-seeking director clearly struggles to compose X3 as both a sequel and a stand-alone adventure. As a consequence, few actors are given much to work with save the key players, who do what they can with a script that appears in a bit of a hurry. Famke Janssen stands heads above the rest: nothing short of brilliant as the returned Jean Grey (or Dark Phoenix), she portrays just the right amount of inner turmoil, vulnerability and downright creepy-ness to really hit the right notes. Ian McKellen and Patrick Stewart are again the glue that holds everything together, both skilfully communicating the subtle nuances of their characters’ complex relationship. Others, like Kelsey Grammar’s Beast, and even James Marsden’s Cyclops come across as something of an after thought. There’s simply too much cast spread much too thinly.

The sacrifices extend throughout the rest of the film, too. Those little moments that imbued the other X films with heart and gravity are glaringly absent here; characters rush through expositional speeches, barely pausing for breath before the next explosive encounter. So while the pow-pow-pow approach ensures X3 a vigorous pace that effectively gathers momentum, its resultant whirlwind can tend to sweep over the rest of the film to its own detriment.

And when the final credits roll, just how has Ratner done with his last minute leap into the world of X? It’s difficult to judge how much tighter his X3 could have been if more time and creative control had been offered to him. The studio leash tightens noticeably as the running time accumulates: the three plot lines each struggle for exposure but none reach an entirely satisfactory conclusion. In the end, Ratner must be commended for crafting a film in a decidedly dubious climate, a film that is not only watchable, but entertaining too. X3 has its shortcomings, but there’s more than enough bang for your buck. And of course things are nicely left open for another installment. Now, where to find a fanboy director to fill those Singer-sized shoes?

 

7 out of 10 stars

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X2: X-Men United (2003) – Movie Review

x2

With nine films thus far and at least two more on the horizon, all released over a near-twenty year window, 20th Century Fox’s “X-Men” film franchise is something of a wonder in today’s world of near- constant reboots and remakes. While it has by no means been a smooth ride, the fact remains that the long-running series has been a widely beloved and infinitely important one, especially when placed into historical perspective. Director Bryan Singer’s original entry was one of the first major comic-to-film adaptations that convinced studios and audiences alike that comic-book movies could not only be mature and enthralling, but could be certified hits once again after the genre seemed to die-out in the 90’s. And thus, a franchise was born and has stuck around ever since, through thick and thin.

It’s almost a surprise, however, that one of the best entries in the entire saga came so early- 2003’s follow-up “X2.” With Singer once again at the helm, the film is in every conceivable way an improvement over his excellent first film- it’s more thoughtful, more daring, more exciting… I think one could even reasonably say that not only is it arguably the greatest film in the franchise- it just might be one of the best comic-to-film adaptations of all time. Yes, it’s that good.

Some time after the original film, a brainwashed mutant called Nightcrawler (Alan Cumming) is sent on a mission to try and assassinate the President of the United States under the guise of being a martyr for Mutant Freedom. Despite the mutant being stopped, the troubling event gives Colonel William Stryker (Brian Cox) the political edge and backing needed to get approval for an “investigation” on Xavier’s School for Gifted Youngsters- but his investigation is actually an invasion, as he storms the school, taking many students hostage and forcing the remaining X-Men to flee. At the same time, Storm (Halle Berry) and Jean Grey (Famke Janssen) are sent on a mission to collect Nightcrawler and learn his motivation for the attack, Cyclops (James Marsden) and Professor Xavier (Patrick Stewart) are captured by Stryker’s mysterious bodyguard (Kelly Hu) and the shape-shifting Mystique (Rebecca Romijn-Stamos) helps her former leader Magneto (Ian McKellan) escape from his high-tech prison. Soon, the remaining mutants (including Hugh Jackman as Wolverine, Anna Paquin as Rogue and Shawn Ashmore as Iceman) are forced to team up with their former adversary to try and stop Stryker’s scheme to use Charles and his powers to wipe out all of the mutants on Earth.

Given the film’s nature as an ensemble piece, it’s near-impossible to discuss the performances of each actor individually. But to keep it brief, everyone returning from the original is great in their respective roles. Special commendation goes to Hugh Jackman and his continued excellence in the role that helped to define him as a superstar and to Famke Jannsen, who gets a lot more attention this time around. They are by far the stand-outs of the returning cast. I also highly enjoyed Stewart and McKellen, who bring a sense of class and elegance to their roles and are incredible as always. The newest additions are also outstanding. Brian Cox is one of the greatest actors of our time, and his turn as Stryker is quite remarkable. He gives the character both an easily- “despiseable” sense of threat and dread, yet also a nice and subtle sense of pain and pathos. He’s a cruel man, yet he has a past that might explain why he is the way he is. Alan Cumming is just magical as the frightened yet also amusing Nightcrawler, and there’s a lot of great moments in his performance. And Kelly Hu makes for a fun and furious adversary as Styker’s second-in-command “Lady Deathstrike.”

Singer returns to direct from a script by “X-Men” scribe David Hayter and the writing duo of Michael Dougherty and Dan Harris. Singer got his start with hard-hitting thrillers like “The Usual Suspects” and “Apt Pupil”, and I think that’s part of what gives him an edge with the storytelling. He plays the stories straight and gives them a sense of real and honest threat, while also maintaining an emotional core that feels realistic despite the outlandish nature of the story and heavy Science-Fiction leanings of the material. He’s also a very gifted visual artist with a slick and savage sense of composition and flow that lends itself well to the needs of high- concept action. His work on the series has always been nothing less than stunning. The script is very tightly written and juggles the plethora of characters well- everyone has their moment to shine, every major player has a clearly defined role and arc and the pacing is superb. Some wonderful work is done with the writing, and it’s an honest shame that neither Hayter nor the writing partners of Dougherty and Harris were involved in the third entry.

The rest of the production is just marvelous. (Pardon the bad joke) Composer/co-editor John Ottman shapes some wonderful and memorable musical themes that compliment the tone and style perfectly, and he weaves together shots and sequences with a masterful touch. Cinematographer Newton Thomas Sigel’s visual palette is cool and visually arresting, and his work is just stunningly gorgeous. Some wonderful visual flair is given thanks to his talent. And production and costume design courtesy Guy Hendrix Dyas and Louise Mingenbach respectively is just fantastic. The film is made with nothing but top-notch work from top-notch artists.

As it stands, “X2” is easily one of the best if not the single best entry in the long-running series. Its phenomenal direction, sharp and thoughtful writing, beautiful production and outstanding cast weave an enthralling and thrilling cinematic experience that still stands tall well over a decade later. It’s up there with the best of the best in terms of comic-book movies.

 

10 out of 10 stars

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