You've probably already heard this, but Logan is not a typical comic book movie. In fact, this movie feels less like a comic book movie, and more like a western combined with Terminator 2: Judgement Day and The Last of Us. This last analogy is particularly apt, considering that Logan deals with the extinction of mutants from the X-Men film universe.
The X-Men comics and movies have always been known for being topical, with their themes of racism, bigotry, and so forth, and Logan manages to to also be surprisingly topical regarding its storyline of a child fleeing [what amounts to] a violent drug cartel in Mexico, being unwelcome in the United States, and having to flee even further to Canada.
And this movie is laden with so much more possible metaphor. Logan's rejection of the comics' fallacious telling of events may symbolize our own need to let go of our childhood nostalgia regarding these fictional universes and characters and accept new and different interpretations. The final scene, with the child clutching the action figure, just so perfectly captures this bittersweet sentiment. And thank goodness that there isn't an end-credits scene, because I would have been pissed if anything had come up to ruin that perfect final shot. Or maybe it symbolizes the gradual and steady loss of our own real-world heroes. The last astronaut to walk on the moon died this year. We've lost civil rights leaders, WWII veterans are becoming increasingly rare, our 20th century pop culture icons are slowly kicking the bucket. What kinds of heroes will replace them? There's a lot to unpack here.
The X-Men are revered, mythical figures within the film's universe.
And by avoiding any strong, direct connections to other X-Men movies, Logan not only allows non X-Men fans to get into the movie without all the extra baggage, but it also kind of implies that maybe the previous movies aren't to be taken seriously either... [More]
I wasn't sure what to think when I walked out of Suicide Squad this past weekend. I desperately wanted this to be the movie in which DC finally gets its ducks in a row and makes a fully competent movie (instead of just half a competent movie). I wanted to find things to like about the movie. I wanted to see some brilliant artistic vision that was realized in the film. But I just couldn't. The whole movie was just off-putting.
I feel like the original creative vision revolved around showing a sense of nobility and honor among villains, while also highlighting that supposed "good guys" can actually be very evil. You know, real Watchmen-level kind of stuff. This would have mirrored some of the more enjoyable elements in the first half of Dawn of Justice (in which Superman and Batman's actions are viewed from different perspectives) and would have offered a pretty solid artistic message. This possible original intent is most apparent with Deadshot and Amanda Waller (Viola Davis), whose behavior is inverse of their perception within society. Deadshot is a vigilante and murderer who is locked up in prison, but he is the most noble and compassionate character in the film. Waller, on the other hand, is a national security adviser responsible for protecting the lives of hundreds of millions of people, but she is a merciless, cynical bitch who will shoot her entire staff in the heads because they apparently didn't have clearance to participate in ... the operation that she enlisted them into?
It's all so ham-fisted. Despite being the most likable, relatable, and heroic character in the movie, Deadshot's sense of honor just gets obnoxious. Waller, on the other hand, is obnoxiously vile. The result is that neither character really works for me, and that underlying theme about "who are the real bad guys?" just kind of gets lost in the meaninglessness of the individual characters' actions.
Deadshot and Amanda Waller seem to be ham-fisted attempts at subverting the "bad guys" and "good guys" tropes.
The fact that none of the other characters besides Harley and El Diablo (who ended up being my favorite character in the film) get any development at all certainly doesn't help. A two-hour runtime is pretty standard for a movie, but I simultaneously feel as though half the movie is cut out, and that half of what is present drags on... [More]
My past two blog posts have been focused on open world gaming. These posts have been continuations of an earlier post about the narrative "limbo" that many open world games create via their quest structures. In the first post in this second series, I pointed out what I perceive to be a problem with open world games that insist on turning their sandbox worlds into little more than convoluted mission-select screens and collectible checklists. In the following post, I described some games that I think managed to make successful open worlds by including features or mechanics that made traveling through the space into a meaningful mechanic. This time, I want to go back to some of the games that I singled-out in the first post in this series, and brainstorm some ways that they could have made better use of the large spaces that their maps offered so that traveling around the world wouldn't become so boring later in the game.
But before I do that, I want to re-emphasize that I don't hate these games. They're just not very good at using their space, and that's what I'm criticizing. Well, the newer Assassin's Creed games have been pretty terrible. Anyway, I pick on games like Skyrim and The Witcher III a lot, but I like them just fine - I bought the DLC for both. I pick on them, not because I hate them, but because I do like them and I want them to get better (or for their sequels to get better). Rather, my objective here is to find ways for these games to make better use of the large, open spaces that they provide the player, so that exploring the map feels more mechanically relevant, more interesting, or more rewarding; and to feel less like a time-sink.
Games like Skyrim and The Witcher III have massive worlds, but do a poor job of utilizing the space.
Bethesda's Skyrim and Fallout titles, as well as CD Projeckt Red's Witcher III and Rockstar's Grand Theft Auto V, already have open worlds that transcend being simple, convoluted mission-select screens like games like Assassin's Creed and Metal Gear Solid V. They populate their worlds with little narrative world-building details that make their worlds feel alive and lived-in (even though they may feel stagnant). So what could a game like Skyrim or The Witcher III have done to improve its open world? [More]
Cover of Uncanny X-Men #141:
Days of Future Past.
So, what's the deal with the "Days of Future Past" X-Men story, anyway? Sure, it's a great storyline, but other comics also have similarly great storylines. Yet, I can't think of any other comic story that is treated with as much reverence as this particular one. No other comic book story that I can think of has been directly adapted as often as this one. Not "The Night Gwen Stacy Died", not "The Death of Superman". These comic stories have been reference in numerous media, particularly Gwen Stacy's death, but rarely are they adapted. But I've yet to see an incarnation of X-Men that does not include a version of the "Days of Future Past" storyline. It's been featured in multiple animated series, video games, and novelizations.
Of course, all of the various retellings of this story take their own creative liberties, and the new movie from 20th Century Fox is no exception.
This film is designed to be a sequel to both the First Class and Last Stand movies in the X-Men franchise. I was kind of surprised that the studio took this particular approach, since there were some nagging inconsistencies and continuity issues with the two timelines. But I guess Hollywood never cares as much about continuity as the nerdy fanboys do... Fortunately, these continuity issues don't come up or interfere with this film.
In fact, I thoroughly enjoyed this film. The creative liberties were generally positive, and the combination of the two timelines actually works surprisingly well. I wasn't terribly thrilled with the depressed, brooding depiction of the younger Xavier, but I don't know enough about the character's comic book history to know whether this is anachronistic, and it definitely wasn't to the movie's detriment. [More]
I did not at all care for The Amazing Spider-Man movie that was released last year. In summary, the movie was too dark, it lacked the light-hearted fun that I expect from Spider-Man, and the romantic dynamic between Peter Parker and Gwen Stacy just didn't work in my mind. Apparently, I wasn't the only one who was disappointed in the movie because of these issues. At this year's San Diego ComicCon, the creators and cast of the sequel, The Amazing Spider-Man 2, revealed a lot of information about the new movie that actually impressed me! It just might be possible that the creators swallowed their pride, and took the criticism of the previous movie to heart.
This movie might actually look like a Spider-Man movie
The most noticeable and immediately obvious change in the overall look and feel of the new movie is the color palette. Most of the images from the film are sequences that take place during the day, so the images are bright and colorful. But the most important change is the complete redesign of Spidey's suit.
The new Spider-suit is "amazing"!
The new suit design is absolutely gorgeous! They totally nailed it this time around!
First and foremost, it is actually a direct adaptation of the comic book suit (minus the armpit web). It actually looks like something Peter Parker could have put together with the limited resources at his disposal rather than some kind of military-grade commando outfit. It looks like a spandex suit. The eyes are bigger and buggier and actually white instead of gray or silver, which just looks great and adds just the right amount of "cartoonish-ness" to the character. The colors could have been a little brighter, but I can live with that. Put simply: this is the best looking movie Spider-Man suit so far, hand down! [More]
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