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| Courtesy of 20th Century Fox |
(Rated R for strong brutal violence and language throughout, and for brief nudity. Opens March 3 everywhere.)
The cast: Hugh Jackman, Patrick Stewart, Dafne Keen, Boyd Holbrook and Stephen Merchant.
What it’s about: The final Wolverine movie takes place in 2029, where an aging Logan (Jackman) attempts to live a normal life, working as a chauffeur and caring for an ailing Charles Xavier (Stewart). Neither of them possess the strength or power they had in their prime, so Logan is trying to buy a boat where they can spend the remainder of their lives on the ocean. However, those plans dramatically change when the duo meets a young mutant (Keen) who boasts familiar skills and finds herself pursued by a dangerous government agent (Holbrook, doing his best Tom Hardy impression).
The good: It took nine X-Men movies, but we’ve finally got the definitive cinematic version of the iconic, adamantium-clawed hero. Director James Mangold came close with 2013’s The Wolverine, but he and Jackman were hamstrung by a lame, studio-mandated ending involving a goofy CGI robot. Luckily, the duo got one last shot at the character and – with no previous plot threads or future sequels to worry about – they absolutely nail it.
Jackman delivers one of the best performances of his career, giving his beloved character the sendoff he deserves. Stewart is also terrific, clearly relishing the opportunity to play a bitter, defeated version of Professor X. But the film’s biggest surprise is Keen, a relative newcomer who delivers a fierce performance despite almost no dialogue. I would love to see her get a spinoff movie, which I’m assuming will happen if Logan is a hit.
The film’s R-rating, which the studio approved after the astonishing success of Deadpool, allows for a much more realistic interpretation of the characters, and parents should take it seriously. The tone is almost unrelentingly bleak, and the blood and f-bombs flow freely. But it’s a perfect match for this neo-Western, depicting Logan and Xavier as the last of their kind in a world that’s moved on. It’s no accident that the movie Shane plays such a pivotal role in the story.
The not-so-good: Like almost every entry in the X-Men series, this one is too long. The middle section sags in places, and could’ve easily benefited from a 20-minute trim. Still, I can’t really fault Mangold and Jackman for wanting to provide depth and shading to Logan’s world.
Grade: A-
Kedi
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| Courtesy of Oscilloscope |
(Unrated, but contains no objectionable content. Opens March 3 in limited release.)
The cast: The cats and citizens of Istanbul, Turkey.
What it’s about: A documentary that chronicles everyday life in Istanbul, where countless stray cats roam the streets. They’re cared for by people who live and work in the city, many of whom tell their stories and explain why they’re so drawn to these mysterious and beloved animals. What starts as a tale about cats turns into something much deeper and complex.
The good: We’re still early in 2017, but Kedi is easily one of the best films I’ve seen this year. Director Ceyda Torun could’ve easily coasted on the charisma and cuteness of her feline stars, but instead she uses them to tell a grander story about the importance of empathy. She also understands the importance of cinematography – this is a gorgeous, visually rich film that practically doubles as a tourism ad. That’s no easy feat considering Turkey is in the midst of cultural and political upheaval.
The not-so-good: Honestly, my biggest complaint is that it’s too short. At 80 minutes, it ends just as I was getting fully invested in the lives of Turkish cats and people. Also, without getting into spoilers, there’s one story with heartbreaking stakes that goes unresolved. When the credits rolled, I practically screamed, “what happened to the kitten?!”
Grade: A
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| Courtesy of Summit |
(Rated R for intense prolonged realistically graphic sequences of war violence including grisly bloody images. Now available on DVD, Blu-ray and On Demand.)
The cast: Andrew Garfield, Teresa Palmer, Vince Vaughn and Sam Worthington.
What it’s about: Nominated for Best Picture, Mel Gibson’s film (which also earned him a Best Director nomination) tells the incredible true story of Desmond Doss (Garfield), a devout Seventh-day Adventist and conscientious objector who nevertheless felt it was his duty to serve as a medic during World War II. During the Battle of Okinawa, he saved the lives of 75 wounded infantrymen.
The good: Frankly, the movie is nothing special until the second hour. Gibson seems uncomfortable portraying Doss’ pre-war life, including an over-the-top depiction of his difficult childhood, his sappy courtship with a beautiful nurse (Palmer, stranded in a thankless girlfriend role) and a clichéd stint in basic training. But once the narrative shifts to the horrors of Okinawa, Hacksaw Ridge turns into a completely different, far superior film.
That’s where Gibson’s propensity for graphic violence kicks in and he stages some of the most harrowing battle sequences since Saving Private Ryan. It’s in these scenes that Garfield gets a chance to shine, as does the usually bland Worthington and Vaughn, who reminds audiences that he’s just as adept at drama as he is comedy. The film is easily the weakest of this year’s crop of Best Picture nominees, but I won’t complain about its inclusion – I’ve seen far worse make the cut.
The not-so-good: For the first hour, I was puzzled that Hacksaw Ridge earned so much love from the Academy. Perhaps older members loved the hokey melodrama, because it plays like a parody of cornball Army movies from Hollywood’s Golden Age. Aside from familiar faces like Vaughn and Worthington, the other characters aren’t drawn with any depth; instead, the screenplay by Robert Schenkkan and Andrew Knight gives each of them a distinguishing physical feature or cultural stereotype so we’ll remember who they are on the battlefield later.
I’m shocked at the difference in quality between the movie’s two halves. It’s got to be one of the most jarring tonal shifts I’ve ever experienced. Also, even though Garfield is solid in the role, I’m baffled that he earned his Best Actor nomination for this film instead of the far superior Silence.
Grade: B
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