Detroit Review

There are not many filmmakers today who understand the provocative potential of their medium to the same extent that Kathryn Bigelow does.  After directing The Hurt Locker and Zero Dark Thirty, modern masterpieces which depict the moral confusion of 21st century warfare in harrowing ways, one could understand if Bigelow maybe spent some time working on a lighter project or two or if there was a drop in quality if her next film was indeed another politically charged work.  Detroit, Bigelow’s latest directorial effort, proves all these predictions and assumptions wrong, standing as both a testament to the technical skill of its director and her collaborators and, more importantly, a statement on perhaps the greatest evil to ever infect America, an evil which is tragically still alive and well.

As most who are attending the film will likely know, Detroit is set during the infamous 12th Street Riot the titular city underwent in the summer of 1967.  While the police raid of an unlicensed club that nominally started the riot is depicted in the opening the majority of the film zeroes in on a specific instance of police brutality at a motel called the Algiers (indeed the film’s title does feel a bit off since the rioting throughout the rest of the city doesn’t receive too much focus, but this is relatively inconsequential).  The viewer is led to the tragic night at the motel by the individual stories of Larry Reed (Algee Smith), lead singer for struggling R&B group The Dramatics, racist Detroit police officer Phillip Kraus (Will Poulter), and security guard Melvin Dismukes (John Boyega), who is hired to protect a grocery store near the Algiers from the city-wide looting.  After a black Algiers guest fires a starter pistol in order to frighten police in a bout of righteous anger the motel is besieged by police and national guardsmen (accompanied by Dismukes) who supposedly mistook the sounds of the starter pistol for those of a sniper attack.  After killing one motel resident in the initial breach of the building, Krauss, who is already facing murder charges for an earlier instance of brutality, takes command of the situation.  The remaining guests, including Reed, his friend, two flirtatious white girls, and a Vietnam veteran named Greene (Anthony Mackie), among others, are rounded up and subjected to a night of horrendous violence and violation that Krauss orders in search of the gun he supposedly believes is hidden somewhere in the building.  Bigelow stages this “interrogation” in a brutally effective manner, crafting the most terrifying spectacle I have seen on screen in a long time that is made all the more horrifying when one realizes that these could very easily be events of today not fifty years ago.

For Detroit Bigelow (and screenwriter and frequent collaborator Mark Boal) employ a journalistic style of filmmaking, even more so than they did with The Hurt Locker and Zero Dark Thirty.  Much like Christopher Nolan’s Dunkirk the idea is to completely immerse the viewer so they feel as if they are genuinely experiencing the horrific events on screen and I would argue that Bigelow succeeds at this even more so than Nolan does.  There’s no embellishment to make the story more cinematic here.  Characters simply move from disturbing Point A to even more disturbing Point B and it’s only Smith who is  given a narrative arc in the traditional sense of the word with the depiction of the shattering effect that horrible night in the motel has on Reed’s musical passion.  While this strictly factual approach doesn’t create a perfect movie (the first act often feels sort of jumbled in its efforts to set everything up for the horrific second and third acts) it’s the most powerful way to make the intended statement.  No thematic additions by Bigelow could make this story any more disturbing than the events themselves do and she should be commended for realizing this.

While Detroit might not be the best movie of the year (though if it isn’t it’s pretty close) it’s certainly the most important that I’ve seen so far.  Bigelow is a crusading filmmaker and is perhaps more equipped than any of her peers to address the darkest corners of American history.  Especially those that are still relevant, as the 12th Street Riot, Algiers Motel incident, and all other stories of racism sadly still are, today.

Atomic Blonde Review

A lot of movies can be criticized for having style over substance, particularly members of the action genre, many of which favor fight or chase scenes and plot twists over exploration of character or themes.  It is the truly great action movies that have all of those attributes and more.  Atomic Blonde, David Leitch’s new spy film starring Charlize Theron, is an oddity in that it certainly tries to be more than just two hours of mayhem but is in many ways better off when it doesn’t.  Blonde‘s stylish elements (most of all its fight scenes and cinematography) are extremely well executed but its attempts at introspection and sophistication are a mixed bag.  While it’s not the kind of blockbuster where you can really turn your brain off there’s a decent chance you might be confused by the film’s plot and/or messages even if you do pay close attention.

Based on the graphic novel The Coldest City, Blonde follows MI6 agent Lorraine Broughton (Theron).  After a colleague is murdered Lorraine is sent to Berlin (days before the Wall comes down) in order to retrieve that pesky list of undercover agents that’s been showing up in every other spy movie screenplay since Mission Impossible.  There she meets unorthodox Berlin station chief David Percival (James McAvoy) and French agent Delphine Lasalle (Sofia Boutella), occasionally teaming with the former and falling for the latter.  Theron and McAvoy have quite an enjoyable chemistry as damaged people who clearly understand eachother well but don’t particularly like one another.  Indeed its one of the screenplay’s bigger missed opportunities that Lorraine and David run their investigations separately with only occasional intersections.  The film actually explores David more effectively than it does Lorraine and while this allows McAvoy to turn in a great performance it makes for a bit of a disjointed experience.  The David scenes often feel like pieces of a screenplay that approached the same situation from a different perspective, at least throughout the first and second acts.  Theron and Boutella are also enjoyable together and sell a connection that could easily have come off as rushed.  Its something of a sexually charged mentor student relationship and the closest thing the movie has to a strongly beating heart.  And if nothing else Blonde deserves some points for nonchalantly using a romance between two women as the emotional backbone for a summer blockbuster.

While the movie handles Lorraine’s interactions with other characters fairly well it fails to really make her stand out on her own.  This is no fault of Theron’s who does the best she can throughout, giving a charming and believable performance.  She is let down by the writing which doesn’t have a singular approach to the character.  In some scenes Lorraine is a likeable yet cold enigma, pretty much a female Bond but in others she is a truly messed up individual who the film clearly wants the viewer to be deeply invested in and this leads to a somewhat confused experience.  The movie would probably have been better off with a more genuinely ensemble approach, contrasting each character’s reactions to the uniquely dangerous world of covert operations in Cold War Berlin.  Indeed this unique setting is already a more intriguing presence than Lorraine herself is and more focus on it would not have hurt.

As important as these other factors are to the impression Blonde will leave they are all secondary to its one truly memorable aspect: the staircase fight.  Arriving towards the end of the second act this instant classic action sequence finds Lorraine protecting an asset from a small army of enemy thugs in what is designed to look like one very long shot, fighting her way down multiple floors of an abandoned building.  In all likelihood its probably four or five still quite lengthy  shots with transitions thinly disguised by a body or two slamming into walls right next to the camera but that’s beside the point.  It’s a cinematic battle for the ages with Theron, the other actors, and the stunt team doing exquisite work.  While anyone who has seen John Wick, which Leitch co-directed would expect high class battles from the filmmaker there is nothing at all expected about this fight.  Its the perfect blend of stylish choreography and realistic brutality and technical masterful filmmaking of this level should never be taken for granted even if it only lasts a single scene (the other action scenes are all serviceable or more but the movie makers were definitely biding their time until this wonderful main event).

While the main reason its worth a big screen watch is the staircase fight there’s more to Atomic Blonde than just well-shot fisticuffs.  Strong performances, lush cinematography, and a unique setting make for an extremely watchable film that also has some interesting ideas, even if they aren’t always expressed very clearly.

Dunkirk Review

Christopher Nolan is a master filmmaker.  That much can’t really be disputed any more.  Since coming into the public eye with the groundbreaking Memento in 2000 the British writer, director, and producer has proven himself a creator of innovative films that are consistently both highly entertaining and intellectually stimulating.  But it is with Dunkirk that Nolan has unveiled his most unconventional, if not necessarily his best, film.

Depicting the evacuation of British forces from the titular French location as the latter country fell to Nazi control, Dunkirk differentiates itself from other war movies, particularly its many siblings in the World War II subgenre, by focusing solely on survival, relatively uninterested in the moral difficulties of war time.  To Nolan anyone around Dunkirk those fateful few days, both the soldiers and the civilian sailors who aided in the evacuation, were heroes, despite any faults they may have, which to be fair, Nolan doesn’t entirely ignore (English bias against the French is acknowledged a decent amount).  Therefore, Nolan sets out to depict just how extreme the conditions these men and boys endured were, calling on all his considerable filmmaking skill to do so.  Dunkirk is a rollercoaster of a film, with constantly climactic tension that does not let up for the entirety of its (admittedly short) runtime.  Nolan abandons traditional ideas of narrative to build a film that is completely experiential.  The characters’ personalities and backstories play second fiddle to the depiction of the physical challenges and fear they experience.  Nolan’s biggest concern, many might say his only concern, here is to immerse the viewer in the combative chaos he depicts.  Nolan has acquired a reputation for being a bit of a cold filmmaker and while the extent to which this is true is often exaggerated emotional impact certainly isn’t necessarily the first thing that comes to mind when one thinks of his filmography.  With the exception of his Batman trilogy the main draw to a Nolan movie is usually something other than memorable character work, examples being enthralling mysteries (such as in The Prestige) or technical filmmaking innovation (found in Inception and Memento).  It would be understandable to expect Nolan to focus more on character in a film about the tragedy of war but as he often does Nolan subverts expectations, playing fast and loose with emotional arcs in order to devote himself to making the viewer feel as if they really are on that beach, on those boats, or in those planes.  Kenneth Branagh and Mark Rylance are the only actors given really emotionally challenging material though all do their jobs at the least adequately, with Tom Hardy bringing a welcome dose of action movie cool to his role as a fighter pilot.

In addition to the focus on intensity over traditional narrative arcs, the other factor making Dunkirk feel fresh among its many war movie peers is its unique narrative structure.  Often known to employ multiple intersecting time frames, Nolan divides Dunkirk into three distinct, though still related, chapters.  One, referred to as “The Mole” depicts the week long struggle of the soldiers slowly being evacuated from the beaches of Dunkirk.  Another, “The Sea”, focuses on Rylance’s character and two others, the owner and two hands of one of the civilian boats called in to aid in the evacuation, on their day long journey to those same beaches.  Finally “The Air” follows Hardy’s character and his partners as they provide air support for the final hour of the sea mission.  Thanks to masterful editing and some carefully constructed surprises the intersections between the three timelines provide a genuine cinematic thrill.

While it certainly has its flaws (chief among them an occasional lack of clarity about where different groups are in relation to each other), Dunkirk is still something of a marvel.  An artistic, experimental film with blockbuster aesthetics that deserves more than a few Academy Award nominations, especially for cinematography and editing, it is more than anything a tribute to the real heroes of the battle it depicts that proves both the skill and integrity of its director.  Nolan’s efforts are selfless here both in terms of how he takes risks and knows when not to, in order to make the most effective, respectful film possible.  A Best Director nomination is more than deserved.

War for the Planet of the Apes Review

My first thought coming out of Matt Reeves’ War for the Planet of the Apes was “Thank goodness the next Batman movie is in good hands” and while this may seem like a distracted thought it’s actually one of the highest compliments I can pay Mister Reeves.  I confess that the cinematic exploits of the Caped Crusader are far more important to me personally than those of the sometimes friendly, sometimes not-so-friendly simians that populate the Apes films and this isn’t likely to change.  But it is the confidence Reeves inspires that is relevant here, born out of his creating a film in War that is hugely satisfying both emotionally and intellectually.

Commencing two years after the end of Dawn of the Planet of the Apes (also done by Reeves), War finds the current protagonist of the franchise, Andy Serkis’ Caesar, and the rest of the intelligent, genetically modified apes whom viewers have come to know over the course of the rebooted trilogy which started with 2011’s Rise of the Planet of the Apes engaged in increasingly brutal conflict with a militant regiment of humans who survived the apocalyptic virus that killed off most of the planet’s population.  After the regiment’s leader, the extremist Colonel (Woody Harrelson), inflicts unspeakable horror upon Caesar, the once noble chimp sets out for revenge accompanied by three close companions with the journey testing his morality and psyche in highly intriguing ways and Serkis turns in another mesmerizing performance (while I understand some Academy members’ reluctance to nominate a performance at least partially constructed by visual effects artists for a standard leading actor award, Serkis definitely at least deserves some kind of special recognition for his pioneering work in this still-new style of acting).

Like Dawn and, to a lesser extent, Rise, War is more than anything a cautionary tale.  In addition to the social commentary against xenophobia and intolerance carried over from its predecessors War is also a powerful examination of violence and well, war.  Caesar’s always been a unique blockbuster antagonist (he is after all a chimpanzee and one that’s made enemies of humankind more than once) but War is a moral quagmire that one really doesn’t expect from a movie featuring talking animals.  While the film starts out focused on typical issues of ends justifying means the second and third acts are what push the film into the territory of great war or anti-war film, depending on how one sees it.  Reeves’ direction truly shines in the moments when he lingers intimately on the effects that Caesar’s morally questionable acts have on his soul.  This is a highly intelligent, educated simian who sees no other way to protect his family and friends than to resort to methods he knows are reprehensible.  This is Apocalypse Now, just with fur and some religious imagery.

While Caesar and the thematic ideas are the main attractions, War has plenty other things to offer.  The motion capture effects continue to stun, with a close-up, emotional dialogue between Caesar and Steve Zahn’s Bad Ape being a particular showcase for the artists’ spectacular skill at maintaining the complexities of the actors’ expressions despite heavy CGI alteration to their appearances.  While all the actors playing apes do fine work (if not as brilliant as Serkis) the real scene stealer amongst the supporting cast is Harrelson.  The Colonel is one of the best screen villains in recent years and this is thanks in no small part to Harrelson’s rage-filled, intimidating performance.  It does help that the writing for the character is very timely, with xenophobia and disregard for the rules of combat and leadership feeling like a particularly relevant blend of evil with said relevance being made abundantly clear when it is revealed the Colonel is using slave labor from prisoners to build a wall.  The film’s action is probably its biggest weakness.  First of all it bares mentioning that this isn’t at all a traditional summer blockbuster and there really isn’t that much action to discuss.  That being said, what few skirmishes there are really aren’t that impressive.  In yet another unconventional move for a sci-fi epic combat isn’t at all glorified, which fits well with the serious examination of violence Reeves is conducting.  However, not all of the violence put on screen is shocking or inventive enough to effectively display the brutality and devastation Reeves wants to convey (the score also occasionally feels a bit out of place tonally).  Scenes of torture serve their thematic purpose much better than the gun fights or human hand to ape hand combat do.  While the fight scenes in War are rightfully about as far as you can get from something like The Avengers they also not close enough to say Looper or Saving Private Ryan.

In summary, Reeves and company have created a unique and highly impressive piece of work.  War for the Planet of the Apes is a powerful examination of the self-inflicted dangers facing humanity, disguised as a sci-fi action thriller and its strengths far outweigh its few minor weaknesses.

 

 

Spider-Man: Homecoming Review

The Spider-Man franchise is perhaps the perfect example of the lack of originality that many believe is plaguing the film industry.  The first appearance of Tom Holland’s take on Peter Parker in last year’s Captain America: Civil War marked the second cinematic reboot of the wall-crawler in less than five years and many moviegoers were rightfully skeptical of another solo series for a character who it seemed may have ran his course on the big screen.  While Jon Watts’ Spider-Man: Homecoming, the first of said solo series, isn’t original enough to completely alleviate those concerns, it’s at least a solid film when taken on its own merits.  Strong humor, a lively performance from Holland, and connections to the Marvel Cinematic Universe denied to previous versions of the character make Homecoming a highly enjoyable, if hardly moving, experience.

After a prologue introducing the film’s villain (Michael Keaton’s take on Adrian Toomes a.k.a. the Vulture) Homecoming picks up in the midst of Captain America: Civil War with a very funny look into Peter’s perspective on the events of that film, courtesy of a video diary he keeps throughout a mission.  Upon his return from helping Tony Stark/Iron Man (Robert Downey Jr.) combat former friends, Peter is gifted by the older hero with an A.I. powered super suit as part of a trial period, which he is told, could result in his full induction into the Avengers someday.  Tony tells him to lay low while he learns the finer points of super-heroics, suggesting that he focus more on neighborhood crime-fighting rather than the international incidents the Avengers routinely involve themselves in, and while Peter claims to take this advice to heart, within two months he is bored of patrolling Queens and constantly pesters his handler, Happy Hogan (Jon Favreau, reprising his delightful role from the Iron Man trilogy), for another “real” mission.  Holland does a good job portraying Peter’s frustration and desire to prove himself and the film moves along at such a quick and easy pace that it’s hard not to get caught up in the fun, but I occasionally found myself less than satisfied with the issues Peter is facing given that they are essentially all first-world, fairly unsympathetic, problems.  While past takes on Peter had him struggling financially and socially, as he always does in the comic-book source material, this version is essentially waiting with baited breath for the next alien invasion or super-villain attack and this occasionally creates a bit of a disconnect with the character.  Fortunately this downtime only really lasts throughout some of the first act and once Peter’s wish for a legitimate threat is granted by Toomes’ schemes, in which he sells alien and hi-tech weaponry recovered from the wrecks of Avengers battles, the film really finds its groove as a funny superhero caper that is also interested (though not heavily invested) in the high school escapades of its adolescent hero.

Homecoming‘s desire to be both a high school comedy and an introduction to a new version of a beloved comic-book and cinematic hero is both a blessing and a curse.  Holland’s Peter is by far the youngest and most believably naïve big screen Spider-Man (he’s leagues ahead of Tobey McGuire but still behind Andrew Garfield) and Watts is able to craft a very charming character but the balance and grace with which Peter is (for the most part) approached isn’t always reflected in the rest of the cast.  Out of the various classmates depicted in the film the only one with consistently strong material is Peter’s best friend, Jacob Batalon’s Ned, even if his characterization, along with that of Donald Glover’s character, could be upsetting to fans of the second Spider-Man from the comics.  Laura Harrier is perfectly fine as love interest Liz Allan but is let down by the writing which never provides a good reason for Liz to reciprocate Peter’s romantic feelings making their connection far from tangible.  The script also fails to really sell the tug of war between Peter’s personal and heroic lives that is so vital to the character, possibly due to its infuriating tendency to ignore the tragedies that define him as a person.  While the decision to refrain from showing a third version of Uncle Ben Parker getting shot to death because of Peter’s mistakes is a necessary move to avoid being labeled repetitive, the lack of emotional weight given to Peter’s background costs the film in terms of impact.

While Homecoming certainly has a fair amount of weak spots they are evened out by the general sense of fun and the non-student supporting characters.  Homecoming is genuinely, effortlessly funny in a way most movies simply aren’t any more and the constant stream of laughs contributes to the film’s brisk and easy pace.  The more experienced actors in the cast are also on top of their game.  Robert Downey Jr. is as great as ever, but the restraint both he and the writers show in regards to the use of Tony Stark in the film is the most admirable thing about his inclusion.  Tony is very much a supporting character here, as he should be, but every scene he’s in is better for it.  Although under-used, Marisa Tomei makes for a highly entertaining Aunt May and she shares possibly the film’s best scene with Holland.  That all being said it is Keaton who really steals the show.  The former Batman makes the most out of a simple yet effective villainous part that is simultaneously clever and thuggish turning in an endlessly entertaining performance.  The subtle portrayals of similarities between Peter and Toomes are also some of the script’s highlights.

Future installments will need to improve action sequences and emotional complexity in order to ensure the rebooted series’ longevity but Spider-Man: Homecoming is good enough for now.  The film does a fine job of reintroducing moviegoers to Peter Parker, who is now firmly entrenched in the ever-expanding Marvel Cinematic Universe.  It’s nice to have you back Webs.  Don’t screw it up this time.

Arrow Season 5 Review

Spoilers for the entire series follow:

From 2012 to 2014 The CW’s Arrow was on top of the world.   The first live-action superhero series since the end of Smallville, Arrow (based on DC Comics character Green Arrow) scratched an itch for weekly tales of comic book crime fighting that viewers didn’t seem to know they had.  The show was rightly praised in its first two seasons for its quick pace, genuinely surprising twists, high-quality action sequences, and complex, engaging characters, none more so than lead Oliver Queen (Stephen Amell).  This success kick-started a new wave of small screen superhero series, many of which (such as The Flash and Legends of Tomorrow) are parts of the endlessly entertaining interconnected universe Arrow started and anyone who enjoys any of these series, as well as those series own creators, owe some gratitude to early Arrow.  That being said, after its awesome second season Arrow‘s own magic seemed to have run out, and its quality quickly declined. The third year did some good work with a few of the more interesting supporting characters but was rather directionless about what it was trying to say about Oliver and was further damned by a truly unsatisfying conclusion.  The fourth season was an absolute disaster.  The villainous plot was absolutely absurd and far too fantastical for a series that had always kept one foot planted in reality, almost all action sequences lacked impact, and the creators’ obsession with soap opera-like relationship drama and the series’ weakest characters prevented any interesting narratives from taking off.  Sadly, it seemed as if the time had come to abandon the first of the many superhero series that now fill our TV screens.  However the diminished population that, out of either loyalty or habit, continued watching Arrow as its fifth season began discovered a gem.  The fifth season brings back much of what people loved about those wonderful first two years, from the strength of the action to the emotional complexity.

One of the best things about Season 5 of Arrow is that it remembers that as strong as some of the shows supporting players are, its most interesting character will always be Mister Queen himself.  The renewed focus on Oliver’s psyche and morality as well as Amell’s revitalized performance give a weight and energy to each episode that the series had been missing for some time.  The use of the serialized flashbacks that chronicle Oliver’s five years surviving various hellholes throughout the world before returning home always meant that the fifth season was going to be the end of a chapter for the show.  This lends a sense of immediacy and importance to this season’s flashbacks that makes them the strongest since the second season and this gravity leaks over into the present day storyline.  But as helpful as their place in the chronology is, the fact is that this year’s main storylines both in the past and the present are just plain good regardless of their slightly increased importance to the show’s history.  Oliver’s conflict with serial killer Prometheus in the present day and his time serving as a member of the Russian mob, the Bratva, before returning to the island on which he was originally marooned five years before tie together wonderfully due to the core thematic ideas of exploring Oliver’s relationship with violence and the legitimacy and impact of his vigilante mission to make Star City a better, safer place.

Two noticeable improvements Season 5 makes over the last two years are the action sequences and Oliver’s recently bequeathed position as mayor of Star City.  The fight sequences this year are leaps and bounds above those of Seasons 3 and 4 if not quite as mind blowing as those from Seasons 1 or 2.  The directors and choreographers of season 5 seem more interested in having Oliver face off with singular opponents who can keep up with him a bit more as opposed to having him take on small armies of goons singlehandedly as he often used to.  Holding the camera back allows for some nice long, uninterrupted shots of combat but this costs some of the in-your-face intensity the old closer angles gave.  That being said, even if it can’t quite top itself, Arrow is back to offering some of TV’s best action, with Oliver’s one-on-one bouts against Prometheus and the first escalator-set martial arts fight I’ve ever seen being standouts.  That mayoral position is a wonderful addition to the show.  After taking his family company away from him late in the second season, Arrow has struggled to maintain a balance between Oliver’s vigilante activities and his outside life.  Season 4 had a potential dramatic goldmine in Oliver’s mayoral campaign but really only used it as background noise and it’s a mystery to this day what his employment and living statuses were throughout Season 3.  Putting Ollie in the mayor’s office gives him, his sister Thea (Willa Holland), and quasi-father figure Quentin Lance (Paul Blackthorne) things to do other than hunting down criminals and the three actors have a delightful chemistry (Oliver and Thea have always had one of the show’s strongest on-screen relationships but adding Quentin into the family circle is a masterstroke).  While the political escapades of the show don’t seem particularly realistic (this is a show which once had Thea running a nightclub/bar despite not being old enough to legally drink, after all) they don’t really have to be: they give Amell, Holland, and Blackthorne opportunities to be authoritative and talk down to slimy city politicians and that’s just fun to watch.  Giving Oliver a day job which also focuses on helping the good  people of his city gives him a unity of purpose that past jobs haven’t and Amell’s performance clearly indicates to the viewer that in spite of himself Oliver enjoys the job, which gives added tension when his administration is threatened in the middle of the season.

Aside from Thea and Quentin, and two others who I’ll get to later, the supporting characters are average at best this year and missteps in their use are evidence that Arrow still has more than a few problems.  Oliver takes on a crop of trainee vigilantes early on to fill out the ranks of his dwindling crime-fighting team but the only one given significant development over the year is Rick Gonzalez’s Rene Ramirez/Wild Dog.  Joe Dinicol’s Rory Regan/Ragman is entertaining but isn’t given enough focus and leaves unceremoniously in the middle of the season, making his appearances feel somewhat pointless.  David Ramsey is still strong as Oliver’s right-hand man, John Diggle, but the downward spiral of writing for the character that started last season continues.  The writers need to realize that Diggle’s character works best when acting as Team Arrow’s voice of reason or in romantic scenes with Audrey Marie Anderson’s Lyla and bromantic scenes with Oliver.  Instead they continue to have the character, who was introduced as the most righteous and understanding on the show, continue to act immorally or hypocritically object to questionable decisions made by others, when he’s not acting as a cheerleader for the narratively toxic romance that nearly destroyed the show.  Emily Bett Rickards’ Felicity is no stronger a character than she was the last two years (in which she received an overabundance of screen time) and shows the same hypocrisy as Diggle.  Now, Oliver is often a hypocrite as well, but the important distinction between his characterization and that of his two confidants is that for Oliver, hypocrisy is an established character flaw, one that was consciously included and is openly recognized as a problem he works on.  John and Felicity’s hypocrisies, on the other hand, are simply exemplary of inconsistent writing and the fact that the rest of the characters continue deferring to them as if they’re always right despite their spotty track records is infuriating.  Finally, comic-relief tech expert Curtis (Echo Kellum) has lost all his appeal and is simply unfunny this year.

That last paragraph may seem contradictory to my praise for this season but that’s because the weakness of those supporting characters is more than made up for by the core narrative of the season, which is an intimate, powerful, character study of Oliver.  There are only three pairs of characters and actors that really needed to work for this season to succeed: Oliver and Amell, Josh Segarra as Oliver’s tormentor, Adrian Chase, and David Nykl as Oliver’s friend and Bratva ally, Anatoli Kynazev.  Thankfully, these pairs do work, with the actors giving spectacular interpretations of strong material.  Nykl was a consistent and entertaining presence in the second season’s flashbacks but played second fiddle to the tragic downfall of Manu Bennet’s terrific Slade Wilson.  With Slade’s part in Oliver’s “five years in hell” long since finished and Past Oliver and Anatoly reunited due to the former’s dealings with the Bratva, the flashback sequences put the spotlight firmly on Anatoly, and Nykl really shines.  Oliver and Anatoly had already developed a strong bond but their time together in Russia really solidifies how important they are to each other as well as how suprisingly similar they are.  Anatoly isn’t an average gangster.  Like Oliver he seeks to protect those who can’t protect themselves.   Oliver puts on a hood and puts arrows into the criminals and corrupt who exploit the weaknesses in the Star City and larger American systems.  In Anatoly’s homeland the system itself is what’s exploitative so he puts his faith in the Bratva, because of its (perceived) loyalty and dedication to helping the little guy.  In the flashbacks Anatoly is witness to Oliver at his worst and is horrified by his dear friend’s increasingly violent, often murderous tendenices, while present day scenes have Oliver, picking himself up from possibly his darkest hour yet realizing that five years as a Bratva leader have caused Anatoly to lose most of the idealism that separated him from the rest of their criminal fraternity as Arrow finally deals with the intriguing contradiction of depicting a super hero with ties to organized crime.  The shifting nature of Oliver and Anatoly’s relationship is enthralling to watch and Nykl shifts between past and present sequences exceptionally, offering humor and warmth in the former, and a quiet, tired hurt in the latter.  But if there is one element of Season 5 that will cause it to stand out most among the rest of Arrow it is Josh Segarra’s performance.  Introduced as Star City’s new district attorney, whose brutal tactics mesh well with Oliver’s, Adrian is revealed to be the masked serial killer Prometheus.  After losing a loved one to Oliver’s lethal vigilante crusade in Season 1 Adrian has become obsessed with revenge, and has created a meticulously plotted plan to tear the other man’s life apart.  Segarra is electrifying in the role, bringing a wonderfully psychotic energy to every scene he’s in. Adrian’s plan may be similar in general concept to Slade Wilson’s in season 2 but the execution is different enough to feel fresh.  Slade moved with all the subtlety of a wrecking ball, destroying every aspect of Oliver’s life that he possibly could, while Adrian is much more specific.  As Adrian once says he’s always “ten steps ahead” of Oliver and this allows Segarra to go for a unique portrayal of villainy.  Adrian doesn’t show his anger openly that often and Segarra is more often than not wonderfully smug, rubbing Oliver’s face in the fact that he can’t keep up, all while making it clear there is a truly terrifying monster hiding under Adrian’s cocky grin.  Both Nykl and Segarra bring out the absolute best of Amell, whose passion for Oliver’s character seems reinvigorated by the much stronger material he receives this year.  As flawed as he is, Oliver is someone the viewer cares about deeply and Amell makes it absolutely heart wrenching to see him fight for his very soul, displaying both rare vulnerability and the constant will to survive that makes the character one to root for in the first place.

Its impossible to talk about this season of Arrow without giving special praise to its finest episode, “Kapiushon”.  The seventeenth episode of the season finds present-day Oliver a prisoner of Adrian, who is torturing him both mentally and physically, while in the past Oliver and Anatoly finally engage corrupt Russian government official Konstantin Kovar (Dolph Lundgren) in a catastrophic confrontation.  The direct thematic parallels between Oliver’s weekly adventures in present day Star City and those during his aforementioned “five years in hell” have often been criticized but that’s due to problems with execution, not with the idea of these connections in general.  “Kapiushon” proves that when the formula works, it works well.  Arrow‘s darkest ever episode by far, “Kapiushon” is all about a terrible secret about Oliver, one Anatoly discovered five years ago which present-day Adrian is determined to force Oliver to confess.  One of the great strengths of Season 5 is that it is more than anything a psychological thriller and that is never more on display than in “Kapiushon”.  While the flashback story is propelled by a standard espionage plot and has some exciting fight scenes the main focus of both sets of scenes is probing the mind and heart of a character viewers have known for five years and forcing us to wonder whether he is truly the conflicted hero we thought we knew or a dangerous stranger with monstrous desires.  The greatest thing a series as far along as Arrow can do is cause viewers to reconsider all they have seen before, and that is exactly what Season 5 in general, and “Kapiushon” in particular, does.  I imagine re-watching older episodes, especially from season 1, will be a chillingly different experience after seeing this one.

As I hope I’ve made clear, Arrow is still far, far from perfect and not all problems are being addressed.  The return of the romance that ruined the show in the first place is troubling to say the least and the day to day lives of characters other than Oliver still aren’t given enough focus, which leads to a lack of variety in location (this year if a scene isn’t a fight scene or a flashback, chances are it takes place either in the Arrow Cave or at City Hall).  Despite all this, Anatoly, the action sequences, the depth given to Oliver, and a cunning villain make this a worthwhile season.  Hopefully the finale’s explosive cliffhanger is a sign that some of the core ideas that made this season so fun will carry over into next year.  If so, it will be safe to say Arrow‘s back.

 

 

Wonder Woman Review

Few movies have as much pressure on them to be successful as Wonder Woman did.  In addition to being the first standalone cinematic adaptation of the world’s most famous female comic book superhero, it is also the latest film in the struggling DC Extended Universe, the previous films of which have been at best, divisive (Man of Steel) and at worst, critically ostracized (Batman v Superman: Dawn of Justice).  Fortunately, Patty Jenkins’ film answers the prayers of both feminists and DC Comics fans, telling a story that is inspiring, fun, and charmingly heart-felt.

Although bookended with scenes set somewhere around the present day and after the events of Batman v Superman, the actual story of Wonder Woman takes place a hundred years previous, towards the end of World War I.  Wonder Woman herself, or just Diana (Gal Gadot) as she is refered to throughout the film, is the princess of the Amazons, a race of mystical warrior women created by Greek god Zeus to aid mankind, particularly against other-worldly threats.  After discovering that she is more powerful even than the average Amazon, Diana rescues American spy Steve Trevor (Chris Pine), the first man she has ever seen, from drowning in the waters off the island on which she lives.  Following a spectacularly staged bows and swords vs guns battle between the Amazons and the Germans hunting Steve, the latter describes to his isolated saviors the horrors of the “War to End All Wars”.  Against the wishes of her mother, Queen Hippolyta (Connie Nielsen), Diana frees Steve and the two set out on a thoroughly entertaining cinematic journey.

There are two factors that, above all others really make Wonder Woman the spectacular film that it is.  One is the depiction of its lead character, which really is simply, well, wonderful.  Gadot is perfect for the role, moving back and forth between Diana’s fierce, independent warrior moments and scenes of infectious compassion seamlessly.  Alan Heinberg’s screenplay is equally strong, showing a thoroughly complete understanding of who Diana is and why she is such a compelling hero.  Unlike past DC Extended Universe films, which have wasted strong leading performances from actors like Ben Affleck and Henry Cavill because of their cynical, depressing scripts, Gadot’s version of Wonder Woman shines because she is shown as being genuinely heroic.  A scene in which Diana breaks a No Man’s Land stalemate before freeing a Belgian town from German occupation is instantly iconic.  Doing so doesn’t really benefit Diana in any practical way (there’s no real advantage gained for her specific mission), she simply does so because she can and because it’s the right thing to do.  Aside from being visually stunning with some awesome, kinetic displays of Diana’s combat prowess and super strength, its a great sequence because of the way it encapsulates what a hero is and how they act in a short, simple package.

All this talk of the No Man’s Land scene brings me to the other great strength of Wonder Woman, that being its World War I setting.  Period settings have a history of helping tell great cinematic superhero stories.  Captain America: The First Avenger benefitted from introducing Steve Rogers to movie-going audiences in a World War II adventure that echoed the adventures of Indiana Jones.  X-Men: First Class and X-Men: Days of Future Past were able to revitalize their franchise by  inserting the titular mutant heroes into significant 20th Century events such as the Cuban Missile Crisis and the end of the Vietnam War.  And Zach Snyder’s vision of the altered version of 1985 in which Watchmen takes place is still one of the most intriguing and disturbing dystopias in recent cinematic history.  Wonder Woman is no exception to this rule, enjoying benefits to its storytelling similar to those the aforementioned Captain America film received.  While the wartime setting allows for a narrative mobility city-based heroes such as Batman and Spider-Man don’t get to enjoy, the most important contributions World War I adds to Diana’s story are thematic.  In the uncertain, frightening times we live in, Diana’s mission to bring peace and love feels especially poignant.  Wonder Woman‘s devotion to being an anti-war film is one of the best things about it and these themes are only further strengthened when the film’s true villain (who I won’t reveal here) proves themself to be little more than a super-powered nihilist, who doesn’t share Diana’s compassion and hope for mankind.

While Gadot is rightfully the main attraction, Wonder Woman‘s cast is strong throughout.  Pine’s role is by far the largest and most important and he brings high amounts of both charm and heart while also ably handling comedic material as Steve must adjust to Diana’s fish-out-of-water idiosyncrasies.  Furthermore, the relationship between the two is a master class in how to bring a complex, touching romance to a massive blockbuster story and is brought to life perfectly by both the impressive chemistry between Gadot and Pine as well as the complex writing.  Steve and Diana are equals and they can disagree, both welcome changes to the shallow depictions of romantic relationships that sometimes plague similar movies, but it is the strong basis for their mutual admiration that makes the relationship work so well.  Their personalities mesh well but, perhaps more importantly, they inspire each other.  Steve gives Diana faith that there is good in mankind and her strength and desire to do good make him want to be an even better man.  Other roles are all considerably smaller, but pretty strong.  Eugene Brave Rock, Saïd Taghmaoui, and Ewen Bremner are the most entertaining supporting players as a band of Steve’s war buddies who help him and Diana, showing an emotional depth not usually given to sidekick-type characters.  Connie Nielsen and Robin Wright make the most out of too-brief roles as Hippolyta and her militant sister Antiope respectively.  Lucy Davis, playing Steve’s secretary, gets a few good laughs out of the audience.  Elena Anaya’s Dr. Poison is the only one of the villains I can discuss without  giving anything away, and while she plays the part in an appropriately demented way, the character is little more than a smart henchwoman and doesn’t make much of an impression outside of her important thematic beat in the finale.

All in all Wonder Woman is a delight.  The important themes and spectacular depiction of the titular character prove that the most important things in a good superhero film are optimism and character.  If this is the kind of movie we can expect from DC going forward their cinematic future might finally be looking bright.

 

 

Agents of S.H.I.E.L.D Season 4 Review

Spoilers for the entirety of the series follow:

How is a comic book show to follow up a season which leaves one of its lead characters a fugitive after her love interest made a messianic sacrifice to  save the world from annihilation at the hands of an alien squid monster while the other lead received a major demotion?  That was the question Marvel’s Agents of S.H.I.E.L.D  faced after the end of its third year.  The exquisite fourth season provides the answers by introducing a mystically powered vigilante with a flaming skull, making thoughtful observations about humanity through the examination of artificial intelligence and virtual reality, strengthening the show’s political and social opinions, and further developing an increasingly complex and layered cast of characters, all while developing an innovative new structure for serialized broadcast dramas and maintaining the show’s clever, often deliciously self-aware, sense of humor.

Thoroughly heartbroken after both the death of her boyfriend and her own villainious actions while in a mind-controlled state, Daisy Johnson (Chloe Bennet) has left her surrogate family at S.H.I.E.L.D, fearing that her continued prescence will only lead to tragedy for her friends.  Using increasingly ruthless and reckless tactics, Daisy has been combatting the Watchdogs, a terrorist organization that hunts and kills Inhumans, the race of genetically altered superhumans to which she belongs.  Two of Daisy’s friends, former S.H.I.E.L.D Director Phil Coulson (Clark Gregg) and Alphonso “Mack” MacKenzie (Henry Simmons) have been deployed by new director Jeffrey Mace (Jason O’Hara) to bring Daisy in before her actions cause irreparable damage to S.H.I.E.L.D’s already fragile public relations.  Daisy’s encounters with Robbie Reyes (Gabriel Luna), the latest mortal possessed by the benevolent demon called the Ghost Rider, drag herself and the rest of the titular Agents into darker, magical, corners of the Marvel Universe.

One of the most important factors in S.H.I.E.L.D‘s success this season came from its innovative narrative structure.  A full year series order of more than twenty episodes (twenty-two in S.H.I.E.L.D‘s case) is a lot of content for TV creators to produce (roughly the equivalent runtime of ten or eleven feature films) and sci-fi/fantasy series often struggle with maintaining satisfactory pacing (S.H.I.E.L.D‘s less than perfect first season can attest to this).  While S.H.I.E.L.D had success last year in employing the mid-season winter break to essentially divide the third season in half, marking the split with a shift between two separate, yet related, villains, this time around the creators take it a step further, splitting the fourth season into three distinct “pods” of episodes, subtitled Ghost Rider, L.M.D, and Agents of Hydra respectively.   The pod structure works wonders in keeping a viewer’s attention.  Even in the earliest episodes of Ghost Rider, significant revelations and events are allowed to take place because while certain narrative threads are weaved throughout the entire season, others are concluded by the end of that pod’s short but sweet eight episode run.  While ingeniously connected by certain McGuffins, themes, and character arcs, (most importantly a troublesome dark magic book), the pods each have dinstinct highlights and specialites all their own.

Ghost Rider is the most fun pod thanks to the blockbuster action provided by the titular character and the perfect use of meta humor, but is also given a strongly beating heart by the straightforward, but emotional character beats given to Daisy and Robbie, with Bennet and Luna giving great performances.  Daisy’s arc is particularly affecting, showing both growth that is natural to the character and the series while also containing respectful and inspiring messages about important topics such as post-traumatic stress and suicidal tendencies.

L.M.D is the least exciting of the three but this is mainly because the viewer misses Luna’s electrifying presence (his triumphant return doesn’t come until the end of Agents of Hydra). That being said, L.M.D has strengths all its own, mainly the thoughtful answers to the question of what separates artificial intelligence from real life.  L.M.D is also unique in that aside from significant screen time for Coulson and Mace, the pod puts its focus more on the antagonists.  The tightening of the connection between anti-Inhuman senator Ellen Nadeer (Pamrinder Nagra), the Watchdogs, and a mysterious Russian named Ivanov (Zach McGowan) not only give our heroes some true evil to fight (with McGowan proving particularly entertaining as essentially a spoof of Bond-style villains) but provides some of the show’s most biting and effective social commentary yet (think about that again; a bigoted, idiotic politician who accepts support from known violent racists all under the manipulation of a former KGB agent. Sound familiar yet?)  But it is the pair of more gray opponents that really shine.  John Hannah is wonderfully deluded as mad scientist Holden Radcliffe.  Starting as a newly gained ally for S.H.I.E.L.D after being rescued from forced service to last season’s villain, Radcliffe proves himself to be more trouble than he’s worth, constantly doing the wrong thing for the right reason and vice versa.  The man’s decision making is seriously flawed (even when his mind isn’t being altered by  the demonic book I mentioned earlier) and L.M.D does a wonderful job of showing how much damage a person like him can cause when given too much power.  Many sci-fi and fantasy series boast of morally ambiguous characters when all they really have are heroes who occasionally make mistakes or villains with a couple soft spots.  Radcliffe is an example of a genuinely unpredictable character, one who always has a fifty-fifty chance of making the right choice.  But in situations as volatile as those the Agents constantly find themselves in, fifty-fifty simply isn’t good enough.  The other complex antagonist S.H.I.E.L.D explores this year is Radcliffe’s android assistant, Aida (Mallory Jansen), and while her real showcase comes in the final pod, Jansen is consistently outstanding throughout the season, entertaining as a stereotypical, emotionless robot, chilling as she starts to exhibit subtle anger at being used like a slave, and both endearingly and frighteningly naïve when overwhelmed by her first full experience with emotions.

Speaking of that third pod, Agents of Hydra is perhaps the most consistently strong batch of episodes Agents of S.H.I.E.L.D has ever produced.  The core six agents (and Mace) are thrust into a Matrix-like virtual reality called the Framework, in which America is under the control of Hydra, the secret surviving Nazi branch S.H.I.E.L.D has warred with in the past.  Daisy and Jemma Simmons (Elizabeth Henstridge) are the only ones of our heroes in control of themselves, with the others’ memories having been replaced by those of their respective Framework counterparts.  The problem is that in the Framework Leopold Fitz (Iain De Caestecker) and Melinda May (Ming-Na Wen) are high ranking members of Hydra.  While the creators clearly enjoy the dystopian thrills offered by placing their characters in a 1984-like setting, the real dramatic importance is what this means said characters’ morality and psyches.  The writers come firmly down on one side of the nature vs. nurture debate, arguing that changing formative moments in peoples’ lives can fundamentally alter their identities and this is mainly articulated through the changes to Fitz.  The scary thing about Framework-May is that she is essentially the real May, just in different circumstances, demonstrating how authoritarian that character can be, but Fitz is another story.  By altering his childhood history, the Framework has turned the eternally compassionate Fitz into an absolute monster and watching Caestecker, who has long since proven himself to be the show’s best actor, mix coldly detached sadism with some of the same personality quirks the viewer associates with the sweet, loveable technician he usually plays is darkly enthralling.   But Agents of Hydra isn’t all about existential considerations of human nature.  It’s also the most political the series has ever been, making clever, undisguised comparisons of the dystopia the Agents find themselves in to Trump’s America and all the people behind the series deserve praise for sticking firmly to their ideals and not shying away from expressing their opinions for fear of controversy.  Moments in when Coulson calls out the ridiculousness of ideas like “alternative facts” are priceless.  In these uncertain times we need art to take strong stances or the people poisoning this country will run right over it.  After all, as Jemma says when reminding a Framework child of Hydra’s history, “they’re all Nazis”.  If Agents of Hydra doesn’t have a single mind blowing episode like Ghost Rider’s “The Ghost” or “The Good Samaritan” or L.M.D’s explosive finale “Self-Control”, it makes up for it with the consistent strength of every hour.

There’s so much more to praise about S.H.I.E.L.D this year.  While the characters I’ve already discussed are the real focal points of the season, the entire cast is as strong as ever.  This is also the least predictable group of episodes in the shows run, with expectations subverted at every turn.  But in summary I’ll just say this: with its fourth season Agents of S.H.I.E.L.D elevated itself, truly becoming can’t miss television.  It’s a fun, emotional, and funny series with some really important things to say, and I for one can’t wait for season five.

Guardians of the Galaxy Vol. 2

Following up 2014’s Guardians of the Galaxy wasn’t going to be an easy task.  By making a film about one of their least known superhero teams (one which includes among other members a smartass talking raccoon and a tree who repeatedly says the same single sentence) a critical and commercial hit Marvel proved they could make cinematic gold out of pretty much all of their comic book source material.  Fortunately, Marvel recognized that the key to the film’s success was writer-director James Gunn, keeping him on for the sequel and seemingly granting him more freedom than they have been known to give most other directors under their employ.  As a result, Guardians of the Galaxy Vol. 2 is an exceptional sequel that delivers more of the unique blend of comedy and heart that made the first movie so special.

Since saving the galaxy in the first movie, the Guardians have spent the last couple of months doing well intentioned mercenary work.  After Rocket Raccoon (Bradley Cooper) double-crosses a client the Guardians find themselves under attack before being rescued by Ego (Kurt Russell), a godlike being who also happens to be the birth father of Peter Quill (Chris Pratt).  Here the influence of The Empire Strikes Back on Vol. 2 becomes obvious, as the Guardians find themselves split into two distinct groups until the finale, with Quill, Gamora (Zoe Saldanna), and Drax (Dave Bautista) remaining with Ego and his companion Mantis (Pom Klementieff) so Quill can learn more about his mysterious origins, while Rocket and Baby Groot (Vin Diesel) become tangled up in the misadventures of Nebula (Karen Gillan) and Yondu (Michael Rooker).

One of the most beneficial elements of Vol. 2 is its unique structure.  A gradual pace and the splitting of the team work wonders, allowing for deeper exploration of most of the characters.  Coming off such a successful first effort many writers and directors would have been unwilling to change, only intending to repeat what audiences loved about the first film.  Gunn admirably goes the opposite way, recognizing that as great as it is, the first movie isn’t perfect, and Vol. 2‘s script does an admirable job of stripping away what didn’t work last time around.  There aren’t any boring space cops in Vol. 2 (which also means no wasting of talented actors in bit parts), nor is there any of the half-assed attempts at social commentary.  Gunn instead smartly doubles down on his strengths, those being character development, jokes, and visual vibrancy (this is possibly the most wonderfully colorful superhero film of all time).

That all being said, Vol. 2 is itself imperfect.  Technically the film is a bit of a mixed bag.  Although Gunn constructs another wonderful soundtrack of beloved songs from the 70s and 80s, the original score is nothing special.  Furthermore, there aren’t any really bold choices in terms of direction or cinematography other than the astonishing special affects and aforementioned color.  Gunn elects to let the actors and script get most of the attention, and while both are strong enough to earn this faith it is somewhat of a safe choice.  There isn’t even that much action in the film, at least not many beats that aren’t comedic in some way, with Yondu getting the only really memorable set piece.  While this may be something of a problem for some viewers (most people reasonably expect a decent amount of exciting fisticuffs when they go to a superhero movie) it’s another sacrifice in favor of telling the most emotional and funny story possible.  It really is spectacular how this film is able to either make one laugh or tug at their heartstrings in practically every scene.  Unified by the idea of what it takes to keep a family together, Vol. 2 has some really touching character arcs.  Yondu and Quill remain the best characters and Pratt and Rooker are the best things about the movie but pretty much all the major characters and actors have good showings.  Bautista is hysterical, increasing the unique energy that made Drax such an unexpected delight in the original film.  The violent sisterly rivalry between Nebula and Gamora is complicated in interesting ways and Saldana and Gillan make the most of some of the script’s most directly dramatic material (these are the only characters who aren’t really given any comedic beats).  Mantis is the only character who falls somewhat flat, and Klementieff doesn’t make much of an impression, though that may be because she’s mostly paired off with the comedic gem that is Bautista.  Rocket can seem like a jerk early in the film but this is in service of putting him through the most complicated development.  All in all, Vol. 2‘s strengths far outweigh its weaknesses and it is a delightful experience, with an unapologetic, effective optimism that the comic book genre hasn’t seen since X-Men: Days of Future Past.

 

 

Logan Review

The scene is set in a cage fight in Alberta. One of the combatants takes a quick beating before decimating his opponent in seconds.  After another scuffle at the bar, during which the audience witnesses his indestructible claws shoot out of his knuckles for the first time, the first combatant agrees to give Rogue (Anna Paquin) a ride.  It is only after this that 2000’s X-Men, the first modern superhero film, formally introduces us to the combatant, a man named Logan (Hugh Jackman), who many would come to know as the Wolverine.  Jackman would go on to play the Marvel Comics hero for seventeen years with a perfect blend of palpable rage, touching heart, and perfectly dry humor. Now that his final film as the character, aptly titled Logan, has arrived, I would like to thank Mr. Jackman for his commitment and passion.  These films are of great personal importance to me (2011’s X-Men: First Class was the first film who’s production I followed closely) as both a huge X-Men fan and general cinephile.  Additionally, the early X-Men films rejuvenated the comic book and superhero genres after 1997’s disastrous Batman and Robin turned them into laughing stocks, and they have gone on to provide moviegoers with a plethora of delightful cinematic adventures many of which are some of the most successful films of the modern era, and this is due in no small part to Jackman’s iconic take on the role.  Through this genre explosion the franchise that started it all has kept producing and Jackman has made appearances of various sizes in all X-Men related films, with the exception of last year’s Deadpool (in which he is still featured photographically, albeit not in character).  But all good things must unfortunately come to an end.  And what an end the appropriately-titled Logan is.  Jackman’s swan song is a fantastically emotional, pulse-pounding, sci-fi action thriller, wrapped in the package of a Western.  A more than fitting end for one of the truly special characters in cinematic history.

Logan is charged with feeling from the start.  The first shot of the titular character has him lying, groggy and half-asleep in the back of the limo he currently drives for work.  We can immediately see simply through Jackman’s body language that Logan is experiencing a kind of exhaustion that is hard to fathom.  The emotional  hook of the  film is established in these first few seconds.  Unlike many other comic book films, Logan is first and foremost a character study.  Previous films have filled us in on Logan’s tragic backstory (due to his powers slowing his aging he has been alive since before the Civil War and fought in every major American war between that one and Vietnam, before joining a black-ops task force whose horrific impacts on him would send him on the path to finally meeting the X-Men) but Logan digs deeper into the psychological turmoil it has caused.  Logan has lived a very long life in which he has very rarely been happy and his dark past has left him plagued with guilt.  He tends to ailing psychic mentor Charles Xavier (Patrick Stewart, who has also been with the X-franchise since the beginning and makes his final appearance here as well) but doesn’t really do much else.  For reasons that are more tragic than selfish he barely cares about the imminent, unexplained, extinction of mutants, the race of superhumans to which he and Charles belong, whereas once he was one of mutantkind’s foremost protectors.  He’s only living in the barest sense of the word and Jackman sells this pain with every move he makes and word he says.

But like the cowboys whose stories his so clearly echoes, Logan can’t escape trouble for long.  Evil here is manifested mostly through Donald Pierce (Boyd Holbrook), a cybernetically enhanced redneck who is hunting a young girl named Laura (Dafne Keen), apparently the first new mutuant to manifest powers in years.  Charles has offered Laura protection and aid but given his various medical problems, and the fact that he never was any sort of warrior in the first place (he’s been paralyzed for decades), those responsibilities of course fall to Logan, as much as he tries to avoid them.  Soon the three are on the run, seeking to bring Laura to a supposed mutant promised land in Canada where she will be safe from Pierce and the even darker forces he represents (yes, there are other villains, but to describe them at all would be spoiling).

This road trip set up fully unlocks the films’ central emotional issues.  Laura has been subjected to many of the same horrors as Logan, having both sinned and been sinned against, and facing essentially a child version of himself forces Logan to finally confront his most haunting demons.  His reluctance to care for Laura as well as to accept the full scope of the task laid before him could be seen as cold-hearted but they are nothing more than the affects of lifetimes of tragedy.  Logan has made surrogate families before, in both the X-Men and others, but things never end well.  He doesn’t try to escape his heroic calling or feelings because he doesn’t care.  He does so because he cares too much.  While Laura forces Logan to face his fear of intimacy, it is Charles’ actions that force him to face his guilt.  Charles treats protecting Laura mostly  as a joyous adventure, one last hurrah as a hero before the problems of his aging become inescapable.  For Logan it is a much more serious affair.  He is the one who has to combat Pierce and his mercenaries after all, and the correct action is unclear to him.  Logan is tired of fighting and is beating himself up over the many lives he has already taken (regardless of what evil lives they were) and yet the redemptive path offered him is one in which he faces enemies that must be utterly decimated.  While protecting Laura seems the right path, will killing even more monsters save Logan’s soul or condemn it even further?  These are the kinds of questions Logan is asking and they lead to some of the most complex, heartfelt emotion any film in recent memory has presented.

The film’s leading trio are more than up to the challenge posed to them by the script’s intense material.  Keen makes a powerful impression in her feature film debut, managing to bring to life a very complex character while performing alongside two acting legends.  Laura has seen and experienced far too many horrible things for someone so young and yet maintains an admirable internal strength and Keen displays all the necessary fear, rage, and occasional compassion that the role calls for.  Any child actor would be forgiven for making Laura too stoic, to the point of being wooden, but Keen instead makes her both empathetic and fascinating.  Stewart’s final outing as Professor X is a memorable one, with him deftly portraying a brilliant man who cannot deal with the fact that his mind is decaying.  The relationship between Charles and Logan is one of the film’s greatest strengths, with Jackman and Stewart expertly depicting the strained dynamic of two men who are, in all but blood, father and son.  Charles’ frustrations often get the best of him leading him to lash out at Logan, despite the latter being the person who cares most for him, and Stewart makes these verbal beatings venonomous before reminding us that at his core Charles is a kind soul.  While his companions are deftly portrayed, the most enthralling character in the film is rightfully Logan himself.  Jackman has always given his all whenever playing Wolverine, even in some of the X-franchise’s less strong outings, and it is blatantly obvious that he genuinely loves his character in a way not all blockbuster stars do.  That all being said, in Logan he seems to have somehow found an even higher gear, as hard to believe as that may be.  Jackman weaves his way through the maze of powerful emotions Logan is navigating spectaculary, offering among other things righteous fury, self-destructive guilt, and pure love.  At one point Logan growls to Laura that he is “fucked up” and indeed that more than anything is what the film is about; whether or not he can fix himself.  It’s a character arc of rare dramtic weight for an action blockbuster and one more genuine than even most other traditional dramas made today.  Logan is angry at himself, angry at the world, but most of all yearning for a chance to be better, and finally find peace.  The role is a dream come true for someone as in love with acting as Jackman is and his mesmerizing performance is one for the ages, worthy of an Academy Award.

While Logan‘s most important function is to serve as a fitting end to Jackman and Stewart’s tenures as their characters (which it does more than adequately) credit must be given to writer-director James Mangold for crafting one of the most enthralling, complete cinematic visions in recent memory.  Taking advantage of the film’s R-rating Mangold crafts brutal, exquisitely choreographed action sequences.  This is certainly the most violent mainstream superhero film of all time (young children should be brought to this film under no circumstances) but Mangold doesn’t just have blood spew for the sake of it.  While comic book fans can rightly delight at finally seeing Jackman’s take on the character fully unleashed (the character has a wealth of dark and violent comic book storylines that haven’t been fully invoked tonally on screen before, due to the proceeding films’ PG-13 ratings) the extreme violence also serves an important thematic purpose.  In a movie which studies so deeply the affect Logan’s multiple lifetimes of fighting and war have had on his psyche, displaying the violence in any other matter would seem like a cop-out.  Lingering shots of severed limbs and impaled heads are not there for shock value but to fully present the viewer with the anguish Logan faces in choosing to take yet more lives, even for good purposes.  Additionally, the bloodshed isn’t even the best thing about the film’s exhilarating action sequences.  No, the best things about these fights (at least in my opinion) are their speed and impact.  Perhaps the film’s action highlight is a long tracking shot in which Logan runs through a forest dispatching enemies left and right.  The Wolverine moves with such velocity and such effective ferocity that Pierce’s thugs barely have time to raise their weapons after seeing the last of their comrades fall before they themselves meet the same fates.  All of the film’s technical elements, from the crisp cinematography to the spartan score contribute to the same affect of immersing the viewer completely in Logan’s damaged perspective.

The script, authored by Mangold, Scott Frank, and Michael Green is worthy of special attention.  While Jackman is credited with developing the thematic thrust of the film, these three men have developed a complete story that is close to perfect.  While the X-Men franchise has always had real world relevance, with the plights of mutants being a metaphor for the experience of all oppressed minorities, Logan has a particular timeliness and topicality that is admirable.  The horrors caused by prejudice are on full display in the behavior of the film’s villains, not just towards mutants, but toward impoverished Mexicans and Mexican-Americans.  Logan isn’t just combatting Pierce and company, but also their ideology, one in which a bunch of white men profit from the violent exploitation of minorities, including young children.  Jackman, Mangold, and the rest of Logan‘s creators have managed to make the  sendoff to a cinematic superhero a powerful statement against Trump and those who follow similar ideologies to his (one of the parties Logan drives in his limo is a bunch of drunk frat boys who chant USA while passing Mexican immigrants being deported at the border) while maintaining the film’s emotional focus.  Logan also wears its cinematic influences on its sleeve and benefits from Mangold’s ability to synthesize a multitude of inspirations into a whole that is still completely original.  Shane is both watched and quoted by characters in Logan and the latter is perhaps thematically linked most closely to the former as well as to Unforgiven.  The film’s most basic plot elements and its tone both recall Children of Men while its pacing and style of action owe a debt to Mad Max: Fury Road.

Despite all its technical brilliance, the most appealing thing about Logan is its heart.  Not since Christopher Nolan dropped Christian Bale’s Bruce Wayne into a literal and figurative hell in 2012’s The Dark Knight Rises has a comic book film offered the same amount of emotional complexity and psychological exploration on display in Logan, even if the two are completely different films.  To make comparisons to classic films, if Nolan’s Batman trilogy is the comic book movie equivalent of The Godfather saga Logan is very much Taxi Driver.  Both of the latter two films are extremely gritty and intimate, probing deeply into the psyches of two truly remarkable characters, brought to life through titanic performances by two of the world’s greatest actors, all while building to incredibly cathartic climaxes, of differing moral significances.  Once more thank you to all who worked on Logan for producing what is sure to be an all-time classic movie, and thank you Hugh Jackman for seventeen years of wonderful entertainment, and for being instrumental in making me truly love movies.