Category Archives: x-men

Hollywood has a bad case of Marvelitis

There was a time when hype was built up for a great movie experience. All cinephiles can remember that excitement for the motion picture event of the year. There was Jaws in 1975. There was Jurassic Park in 1993. There was Star Wars: The Phantom Menace in 1999. The was The Lord of the Rings: The Fellowship of the Ring and Harry Potter and the Sorcerer’s Stone in 2001. There was Avatar in 2009.

The world was given glimmers of the promise of truly breathtaking filmmaking leading up to the release of each of these films. People rushed to the cinemas to see something that became more than a movie, it was a global phenomenon, something that changed the way we think about film culturally. Where has that gone?

For studios, it’s no longer about one film anymore. It’s about franchises. Why put all of your eggs into one basket when you can have multiple baskets? And it has drained the creativity and ingenuity out of the Hollywood marketplace.

The tentpole film is dead for the moment. It can always come back. It probably will at some point. But one film is no longer enough for studios right now. It’s the franchise that rules.

The term is called Marvelitis. It started with the Marvel Cinematic Universe. The characters of Iron Man, Captain America and Thor were each given their own separate films before joining up in a mash-up Avengers film (2012). Then the list of characters expanded and more individual films were made before they all joined up again in a second Avengers film (2015). And more characters will be given their own films and more team-ups will come together, an ever expanding universe. And not only have the films become successful, but there is now a need to see all the films in order to stay up in the continuity of the overall story, and the more entries into the MCU, the more opportunities for merchandising. Ever going. On and on.

uRhmvZ5

And studios are now copying Marvel’s success. The Justice League, the Transformers, the Ghostbusters, the Men in Black, 21 Jump Street, Star Wars. As long as a studio has a hot franchise (or in some cases even not so hot), it can create its own series of films and hook viewers into a continuum storyline in order to suck as much profit as it can out of a franchise’s bone marrow.

The problem then is that nothing of much substance happens in the films. When drastic things happen in the plot, the story is closer to its end. In order to stretch out the story as much as possible, dramatic things have to be delayed, which leads to far less interesting stories. The results are watered down films where not a lot happens.

And the effect on the audience is a dilution of substance. We are not as emotionally engaged anymore because we know certain characters are “safe.” Captain America is not going to die because he is signed on for three more films. And even when characters die, they often come back, further diminishing the effect of death in film. The dramatic stakes are immediately lessened based on the cinematic universe approach.

10744765_859692080727989_840779280_n.jpg

Audiences will tire of this approach eventually. There are already box office signals that the ruse of milking profit and franchises for all their worth is fading. It will take a few years still, but it will happen. Will the movie event of the year film come back at that point? Perhaps. A true emotive film experience is not built up over a series of watered down movies, but over true emotional change in the life circumstances of characters, full of love and loss and hope and desire. The movie events of year’s past had those qualities in spades in addition to advances in technology and breathtaking thrills. They can’t be back soon enough.

 

Advertisements

‘Deadpool’ proves not all superhero films have to be the same

With superhero films flooding the marketplace, it was only a matter of time before someone made the anti-superhero film, a movie that takes all the signature tropes of the genre, presents them to the audience and then, almost literally, takes a steaming dump on them. That movie is “Deadpool.”

Wade Wilson (Ryan Reynolds) is a smart-mouthed mercenary who falls in love with a stripper named Vanessa (Morena Baccarin). When he is diagnosed with terminal cancer, he volunteers for an experimental procedure run by a madman, Ajax (Ed Skrein). The procedure mutates his appearance, cures his cancer and gives him instant healing ability, but Ajax intends to use Wade as a slave. He escapes, but is horribly disfigured. This pushes him to don a mask and become the “superhero” Deadpool.

Much like Robert Downey Jr. as Iron Man and Hugh Jackman as Wolverine, it is hard to picture anyone else other than Ryan Reynolds as the titular character. He inhabits the role of the snarky, wise-cracking hero with ease, simply becoming the character that fans have envisioned for years.

The violence is extreme, the language and innuendo filthy, and there are so many inside jokes about the genre that some might go right over the casual moviegoers head, but it all works because of the lighthearted tone and the charismatic lead. It is a near-perfect blend of Hollywood glamour meets counter-culture, a big-screen extravaganza that appeals to the disillusioned outsider in all of us. While it is not ground-breaking or terribly original in terms of plot, it is a lot of fun and serves as a welcome breath of fresh air in comparison to the more droll and serious fare of superhero films (*cough* Batman v Superman *cough*).

‘X-Men: Apocalypse’ a disappointment

The X-Men films vary all over the map from very good (Days of Future Past) to okay (The Wolverine) to downright terrible (X-Men Origins: Wolverine). It’s a shame that the latest team entry, “Apocalypse”, teeters more towards the latter.

Set ten years after the events of “X-Men: Days of Future Past”, the film, directed by Bryan Singer, follows a new villain, the dastardly En Sabah Nur (Oscar Isaac), the first mutant, as he awakens for the first time in thousands of years. Disgusted with the world, he sets about recruiting four followers (horseman) to help him “cleanse” the earth, including Storm (Alexandra Shipp) and Magneto (Michael Fassbender). The only individuals left to stop him are Charles Xavier (James McAvoy) and his X-Men, including Cyclops (Tye Sheridan), Beast (Nicholas Hoult), Jean Grey (Sophie Turner) and Quicksilver (Evan Peters), as well as a reunited Mystique (Jennifer Lawrence).

As the first sequel after the terrific “Days of Future Past”, the film is a giant step back. While that film was dramatic, moving and based in science fiction, “Apocalypse” is silly, overstuffed, action-packed nonsense. You almost have to wonder if that was what the filmmakers were aiming for.

The film takes forever to get going, with the only action really at the end of the film. Starting the film right off the bat would have served the story well. Without giving too much away, Apocalypse needs to gather his horsemen in the first fifteen minutes of the film rather than the first forty-five minutes. He needs to introduce himself to Xavier and the X-Men much sooner, gain his foothold as a dangerous opponent and set the stakes for the rest of the film. Since this confrontation is delayed so long, the film loses steam and the emotional engagement in the final battle is only half of what it should be.

In addition to setting the stakes, a clearer protagonist was needed. If “X-Men: First Class” was primarily Magneto’s story and “X-Men: Days of Future Past” was Xavier’s story, I would think that “Apocalypse” would be Mystique’s film. After the events of the previous film, Mystique is balancing the two halves of her consciousness: the desire to do the right thing and her hatred of mankind. When the opportunity arises in “Apocalypse”, she must either follow Charles or Magneto’s way, fight with the X-Men or with Apocalypse. Her decision would fill the film with meaning as she realizes her identity.

Mystique’s arc is briefly mentioned in the film, but it does not carry much emotional weight because of another major flaw; there is simply too much going on. The film simultaneously tries to achieve the following: establish the story of En Sabah Nur and his resurrection and attempt to destroy the world, finish Magneto’s emotional journey reaching back to Auschwitz, conclude the building of the X-Men team as we know it, finish Mystique’s story of self-discovery, show Xavier learning the importance of the X-Men, set-up the next Wolverine movie, introduce younger versions of characters such as Cylcops and Nightcrawler and Jean, bring Quicksilver back and establish a storyline about his patronage and set all this against the backdrop of 1980s Cold War paranoia. There is so much thrown at us that nothing sticks. We can not ride the roller coaster because it is so cluttered.

The story should be focused on a very simple narrative: After centuries trapped underground, a “god” has re-emerged to find that the world is teetering on chaos. He finds disillusioned souls and recruits them to a higher purpose, the need to make a better world. This contrasts starkly with Xavier’s vision of peace and stability, and Mystique is caught in between and must finally make a choice: to save the world or tear it down. She must lead the X-Men, young and full of issues, towards that purpose she cast out long ago.

Everything outside of this plot should be discarded. Magneto, Wolverine and Quicksilver do not need to be in the story. Cyclops, Jean and Nightcrawler could all start at Xavier’s school rather than be recruited, starting the confrontation with Apocalypse sooner. Little things like that cut out five minute scenes that really add more flow to the narrative.

The action at the end makes up for a lot of the doldrums of the beginning, but like most of the film, it is not handled particularly well. There are several enjoyable moments of unintentional comedy mixed in with some interesting action. Seeing the modern X-Men assemble for the first time ties everything together nicely. It’s just a shame it happens in this flimsy, overpacked jumble.

It would certainly appear that Bryan Singer and company, after their fourth film in the franchise, are starved for ideas. New blood in both casting and the creative team should be given a chance to flex their muscles and really explore this world further. “Deadpool” and “Logan” are just reminders that superhero films don’t all have to be cookie-cutter, save-the-world-from-the-evil-mastermind type fare. They can be funny, dramatic, farcical, romantic, action-packed or terrifying. It’s time for the X-Men to establish themselves in a new way. “Apocalypse” is a strong reminder that change is needed.