Monthly Archives: July 2013

If you were to take everything I loved as a grade-schooler (superheroes, swords, Japan, ninjas, explosions, trains, robots) and mix it all together, the end result would probably come out looking rather like “The Wolverine.” Hugh Jackman’s scowling, blade-fisted mutant warrior has been a favorite of mine for a long time (I even enjoyed 2009’s much-derided “X-Men Origins: Wolverine), making this latest iteration a must-see.

And indeed, “The Wolverine” delivers. This superhero action flick (I hate to even call it that, since it feels so little like its more clangorous brethren) offers a well-written, suitably contemplative story with real character depth.

Picking up some time after 2006’s “X-Men: The Last Stand,” “The Wolverine” finds protagonist Logan hiding out in the Canadian wilderness. It’s not long before he’s found by crimson-haired, anime-heroine-styled Yukio, the ward of wealthy Japanese businessman Yashida. It seems that Yashida (formerly a Japanese soldier in WWII, saved by Logan from the devastation of Nagasaki) has a debt to repay. So, off Logan goes to Japan.

The resulting adventure (involving bullet-train chases, ninja duels, political conspiracies, and a cadre of beautiful women) feels far more like a James Bond movie than anything in the conventional superhero canon…and that’s a good thing. Partway through the story, Logan loses the use of his mutant regeneration powers, which further raises the stakes: sure, the whole “loss of powers” thing has been done before, but never with a character as emotionally brutalized as Wolverine. Both tonally and thematically, “The Wolverine” feels a good deal like last year’s outstanding “Skyfall.”

The storytelling success of “The Wolverine” is due in part to director James Mangold’s refusal to choke the movie with action. The combat scenes, when they happen, are kinetic and fantastically choreographed…but never overwhelm the very human story being told. Regarding this, it’s crucial to note that Logan’s inner conflict transcends the stereotypical “am I putting those I love at risk? superhero dilemma. For Logan, who’s basically immortal, the issue is far more abstract: what does meaning look like in an otherwise eternal existence? (Or, put another way, is it possible to live “the good life” when your life doesn’t follow a normal existential trajectory?) That’s some pretty heady stuff for a summer blockbuster, and it demonstrates a certain intellectual respect for the audience. More directors need to go this route.

Unfortunately, this question is never answered satisfactorily; the movie’s final half-hour, which devolves into a been-there-done-that symphony of chaos and destruction, keeps “The Wolverine” from top-tier greatness. Due to how dramatically it diverges from the rest of the film, I’m inclined to think this was an instance of studio meddling. On that note, it’s worth noting briefly that “The Wolverine” is an extremely brutal movie (to the point where I’m pretty surprised it ended up with a PG-13 rating). The violence and gore are several notches above anything seen in the other “X-Men” films.

Aside: In case anyone from Hollywood ever happens to stumble upon this review, here’s a novel idea: make a superhero movie with no big action scenes or set pieces. Give us “Watchmen” without the gore, or “X-Men” without the big mutant throwdowns. Maybe squirrel a brief fight in at the climax, but spend 99% of the movie on plot, characters, and themes. Now THAT would be groundbreaking. (Last year’s “Chronicle” came close to this goal.)

So is “The Wolverine” worth seeing? Yes, definitely. It’s not as gleefully fun as “Pacific Rim,” but that’s because it draws on a more nuanced storytelling tradition. Superhero fans sick of formulaic Marvel movies or DC’s disastrous non-Batman forays will be more than satisfied. In short, “The Wolverine” is sharp and fierce in all the right ways.

(Also, stay past the credits. You’ll be glad you did.)

VERDICT: 8.5/10
A fresh, suitably sophisticated action movie, and the best superhero film of the summer.

Normalized Score: 6.9

This movie was pretty much review-proof for me. No matter what the critics said, I was going to be there opening weekend. Robots fighting gigantic monsters in a big-budget epic spearheaded by Guillermo del Toro (director of my favorite film of all time)? Count me in.

And yes, the film is every bit as awesome as promised.

In the not-too-distant future, massive saurian creatures called “kaiju” have started to emerge from a chasm at the bottom of the Pacific Ocean. Facing extinction, humanity banded together to create “Jaegers” – enormous armored sentinels controlled by two mind-melded pilots (bear with me). At first, the Jaegers were successful…until the kaiju began to evolve and adapt. Enter Becket (Charlie Hunnam), a burned-out Jaeger pilot traumatized by the death of his brother. Under the command of marshal Stacker Pentecost (the always-welcome Idris Elba), Becket must overcome his personal demons before the kaiju overrun humanity’s last defenses.

It sounds horrifically geeky (on par with the “Transformers” franchise), but del Toro somehow manages to make it work.

In an admirable display of directorial restraint, del Toro resists the urge to jam-pack his movie with nonstop carnage. There are three clearly defined fight sequences, each of which is both integral to the plot and gorgeously choreographed. Moreover, the film has a coherent beginning, middle, and end; not once does it feel like a cash-grabbing attempt to start a new franchise. And for what it’s worth, del Toro does a good job of building dramatic tension: for the first time in ages, I actually found myself wondering how in the world the heroes were going to prevail.

Technically speaking, this is the créme-de-la-créme of apocalyptic sci-fi flicks. Everything in del Toro’s universe is meticulously detailed, making for an immensely immersive cinematic experience. One gets the sense that a real civilian culture has developed in response to the kaiju menace, which creates a sense of raw humanity utterly lacking in “Transformers” and its ilk. This is further heightened by the use of real-world miniatures and hands-on special effects…not everything here is glossy CGI. The “used-future” aesthetic of the original “Star Wars” films was clearly a major influence.

The acting is solid, although no one’s going to win any Oscars. Those looking for tortured character studies will be out of luck, although the mind-melding aspect (“drifting” in the film’s own vernacular) brings a little more depth to the proceedings. That said, the leads all turn in solid performances, and watching Idris Elba bellow “today, we are canceling the apocalypse!” is magnificent enough in its own right.

Those with no interest in science fiction or smash-’em-up action-adventure movies will not enjoy “Pacific Rim.” I’d even go so far as to say that this is very much a “guy film.” But for those within the target demographic, del Toro succeeds in delivering a nerdstravaganza for the ages. Maybe I’m biased (the repressed geek inside me is jumping for joy at the fact that this movie even exists), but it’s fair to say that “Pacific Rim” more than delivers. “Man of Steel” was a crushing disappointment; “Pacific Rim” most certainly is not.

Honestly, this is one movie that demands to be experienced on the big screen; here, one finds that gloriously kinetic sense of wonder that seems to have been machined out of most modern blockbusters. In short, “Pacific Rim” is grand-scale popcorn entertainment that blows its summer competitors out of the water.

VERDICT: 9/10
Movies like this make it worthwhile to go to the theater. Highly recommended.

Normalized Score: 7.9