© Walt Disney Corporation, Marvel Animation.
This wave of nostalgic reboots is becoming so overwhelmingly exhausting. I almost avoided watching X-Men '97 out of principle. I can barely remember the last TV show or movie that I watched, or last video game that I played, that wasn't based on a '90's or '80's IP. At least Shogun and Three-Body Problem are based on novels, instead of movies and TV shows that I watched in elementary school.
I'm glad I did watch X-Men '97 though. It's pretty damn good. It's also depressing though. It's a reminder of how little has changed in 30 years, and how, in some ways, things have gotten worse. There was a hopeful optimism in the '90's. But now, properties like X-Men and Star Trek are reminding us of how fragile our progress is. How quickly and easily it can all be undone.
The X-Men are just as powerful and poignant as they were in the '80's and '90's, and the metaphors still work depressingly well. I had hoped we'd be past this by now. Maybe we never will be.
Despite being a little more bleak in tone, X-Men '97 is both a pitch-perfect continuation of the X-Men: Animated Series for children, and also a new experience for a more mature audience. This show is move violent, more graphic, and people die! But it's not excessive or obscene. It's not Game Of Thrones, and I would have no problem letting any comic book-reading child watch it.
It's also bonkers! The stories here go to crazy places, and do crazy things -- crazy even for comic books. But just as with the original show, these stories (as crazy as they are) are faithfully adapted from the comic book source material -- some of the craziest comic book source material. [More]
8d2e742b-ed4c-4d86-9ae5-d8fcac08fa52|1|5.0
Tags:X-Men, X-Men '97, Disney Plus, Fox Kids, animation, comic book, Charles Xavier, Magneto, sentinels, racism, bigotry, Morph, Storm, Nightcrawler
Another summer, another onslaught of comic book movies. This year, we're spared the misery of another of Warner's DC Comic movies, so we get two Marvel movies (including the recently-released Infinity War and the soon-to-be-released Ant Man and the Wasp), and we get a sequel to Fox's Deadpool. The first Deadpool was pretty great, even though it wasn't as groundbreaking as it seemed to think it was. Nevertheless, it was thoroughly entertaining, and the sequel follows suit.
I do think that the first movie's humor is executed much better though, as the sequel frequently fell flat for me. That isn't for lack of trying though. Deadpool 2 almost tries too hard. The jokes come fast and relentless. A lot of them fall flat, but the volume of attempts is so high that the audience the audience is chuckling or laughing every couple minutes. It's almost a "Barney Stinson" approach to joke-telling: if you tell enough, at least some of them will work. Then again, it might also be different jokes for different people.
I rarely ever found myself laughing out loud during this movie. I laughed out loud to a few jokes in the first movie, but hardly anything in this one. It was a lot more quietly chuckling to myself or nodding along that "Ah, I get it". At least there weren't quite as many contemporary pop culture references this time around (which means this movie will probably age better than the first one will), as more of the jokes were at the expense of comic book movies and comic books in general. Since I didn't read X-Men too extensively, a lot of it probably just went over my head.
I only found myself laughing at a small fraction of the jokes, including the extended X-Force gag.
Again, Deadpool takes a lot of shots at the studio, complaining once again about the lower budget of the movie and the lack of any recognizable X-Men. He asks if Cable is from the DC Universe because Cable is so dark and brooding, and he takes several other shots at Batman v Superman and Justice League. He also takes a couple shots at Marvel Studios, including referring to Cable as Thanos.
Is the crappy quality of the CGI villain intentional? Is that supposed to be a joke? If so, does that justify the dated CG that was used?
Cable and Deadpool play off each other really well.
It's hard to tell if other signs of uninspired writing are deliberate jokes, or just examples of uninspired writing, especially since Deadpool quips once or twice about the movie's lazy writing. For example, does it really make sense that Deadpool and Cable are trying to stop Firefist from going on a killing spree, even though Deadpool and Cable kill literally everyone in their path to do so? Wouldn't that just reinforce in Firefist's mind that killing is acceptable? [More]
1d222fa4-8ba2-4dee-8919-c8dd6300d008|0|.0
Tags:Deadpool, X-Men, 20th Century Fox, Ryan Reynolds, Josh Brolin, Zazie Beetz, Morena Baccarin, Cable, Colossus, Negasonic Teenage Warhead, Domino, Firefist, Juggernaut, X-Force, R-rating, violence, mutant, Marvel, Marvel Comics, comic book, Wolverine, Logan, time travel, fourth wall
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]
dd2f0466-aa07-4b25-9194-8d7bc9888444|5|4.2
Tags:Logan, Wolverine, X-Men, Charles Xavier, Laura Kinney, X-23, Weapon X, mutant, comic book, Westchester, civil rights, racism, Hugh Jackman, Patrick Stewart, The Last of Us, Terminator 2: Judgement Day, western
There's a bit in X-Men: Apocalypse in which Cyclops, Jean Grey, Nightcrawler, and Jubilee are walking out of a theater after seeing Return of the Jedi. Cyclops and Jubilee are arguing about whether Empire was better than Star Wars, and Jean remarks that "we can all agree that the third one is always the worst". This, of course is a jab at X-Men 3: the Last Stand, which I'm sure we can all agree is still the worst of the X-Men movies. It's also the first one that Bryan Singer didn't direct. But what might - or might not - be lost on Singer and his writers is the little bit of irony that Apocalypse is also the third movie in a series: the prequel series that started with X-Men: First Class.
X-2 and Days of Future Past remain the standout excellent films in this particular franchise. I don't think that Apocalypse ever degrades quite to the train wreck that was The Last Stand - not even close. But it does fall victim to some of the same traps that The Last Stand fell into: namely that it perhaps tried to fit too many stories into one, and doesn't tell any one of them particularly well. Much like The Last Stand, this one even starts to fall on its face when it goes into "Dark Pheonix" territory. Thankfully, they avoided turning that into a major plot thread though...
Perhaps the clumsiest storyline here was the Four Horsemen themselves. As per the comics, Apocalypse must recruit four powerful mutants, amplify their powers, and then use them as his own personal bodyguards. Other than Magneto, these characters' introductions and development all had to be rushed through. It seems a bit ironic that in these movies, it always seems to be the characters that we're most familiar with who get the most set-up and exposition; while the new characters receive little-or-no explanation or development. I never really bought into these horsemen though, or why they would be willing to help this obvious villain. I get that he tricked some of them with promises that he would "save humanity from itself", and he earned some loyalty with others by healing them and making them stronger, and that he used Magneto's grief and anger to his advantage, but the moment his plans started shifting away from "destroying corrupt systems and governments" towards outright "destroy the world", I just couldn't believe that none of the others batted an eye! Was there some kind of mind control going on as well? But he doesn't have mind control powers; that's why he wants Professor X.
Aside from Magneto, The Four Horsemen felt undeveloped and lacking in motivation.
Maybe if the movie could have established that Apocalypse had somehow brainwashed them, then I'd be more willing to accept it... [More]
85b2663c-484f-4da7-a67a-5b36565475e8|0|.0
Tags:X-Men, X-Men: Apocalypse, Bryan Singer, 20th Century Fox, Marvel, Marvel Comics, prequel, sequel, retcon, Apocalypse, four horsemen, mutant, Magneto, Storm, Archangel, Psylocke, Charles Xavier, Cyclops, Jean Grey, Beast, Hank McCoy, Nightcrawler, Mystique, Wolverine, Weapon X, Quicksilver, Jubilee, Pheonix, James McAvoy, Michael Fassbender, Oscar Isaac, Jennifer Lawrence, Evan Peters, Sophie Turner, Olivia Munn, Lana Condor, Hugh Jackman, Star Wars, Star Trek, Who Mourns for Adonais?
Deadpool tries to make a big deal about how this is "a different kind of super hero movie". He backs this up by pointing out how he just turned a bad guy into a bloody kabob, and by dropping F-bombs and explicit sex jokes every other line of dialogue. True it isn't exactly the typical super hero movie, but it wasn't anything that we haven't already seen in the larger field of comic book movies. Adaptations of graphic novels like Watchmen, Kickass, Sin City, and 300 are loaded with plenty of gratuitous, graphic violence, foul language, sex, and even some impressive glowing blue penises. Heck, even within the subset of Marvel superhero movies, there's already the R-rated Blade.
So I thought it was a bit pretentious for Deadpool to make his movie out to be "unique" for its hard-R rating. It isn't. And it certainly isn't that unique in its plot, which is a pretty standard, cliched origin story with love interest female lead, complete with the hero trying to rescue his kidnapped girlfriend from an arrogant villain. Nothing new there. It is a little bit more unique in its sense of humor though. If you didn't already know, Deadpool is pretty infamous for being a fourth-wall-breaking meta character. In his appearances in comic books, he routinely jokes or comments about being in a comic book, and his appearances in video games also usually include references to comic books or to video games.
So this movie is trying to sell itself on its wit, and it both succeeds brilliantly, and fails miserably. The opening credit sequence and other digs at the studio system (including a dig at the studio being too cheap to afford any other X-Men cameos) work very well. Other pop culture references fall a bit flat and will only serve to date the movie in the future. I was also very disappointed that Deadpool didn't comment on the absurdly cliche plot twist of the villain kidnapping the hero's girlfriend. That's like a violation of cardinal rule #1 for movie supervillians: don't kidnap the hero's girlfriend. Unless her name is Gwen Stacy, then I guess you've got a case for the kidnapping.
Ryan Reynolds pulls the character off with pitch perfect execution, and his performance isn't hurt at all by the occasional poor joke. He inhabits the role with the same dedication as Robert Downy Jr. in Iron Man, and Reynolds and Deadpool will likely be inseparable from each other for the future.
Despite the cliche plot, Morena Baccarin's character is surprisingly relevant to the protagonist's development.
The villain is pretty lame though, with paper-thin motivation that really does prevent the cliche plot from really transcending the banality of the genre. And really, that's probably the greatest weakness of the movie. Despite taking [what the studio apparently perceives as] risks with the R-rating and over-the-top violence and sex, the actual plot is so "safe" and cheesy. It probably would have worked a bit better for me if it had stuck to being a revenge movie, but once it became apparent that the bad guy was going to kidnap the girlfriend, I kind of sighed and sunk back into my chair, "Oh, another one of these."
At least the romance is much more integral to the movie's plot than in other super hero movies in which the love interest feels tacked on and just there... [More]
c31ecfb9-14cb-4234-96ec-7542f0c8446b|1|5.0
Tags:Deadpool, X-Men, 20th Century Fox, Ryan Reynolds, Ed Skrein, Morena Baccarin, Ajax, Colossus, Negasonic Teenage Warhead, R-rating, nudity, violence, sex, romantic comedy, mutant, Marvel, Marvel Comics, comic book, fourth wall
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