WHAT IT’S ABOUT?
Rather than going to the well for another X-Men sequel Hugh Jackman’s mutant Wolverine has been spun off into an uneven prequel that tries to explain the character’s origins but somehow misses what we liked about him in the first place. X-Men Origins: Wolverine opens with a flashback to 150 years ago which unveils the relationship between Logan and Victor mutant half-brothers who are forced to run away from home after Logan murders their biological father. After several scenes depicting the brothers’ service in various wars the story settles in around the 1970s where both Victor and Logan are recruited by the devious William Stryker to serve in a mutant army. But Logan spurns Stryker after taking part in a massacre in East Africa and chooses instead to settle down with his girlfriend Kayla Silverfox in the Canadian Rockies. Six years later Victor now Sabretooth shows up and kills her. Logan now Wolverine seeks revenge reluctantly making a deal with Stryker in order to become indestructible. Unfortunately he is double-crossed and uncovers a Stryker/Sabretooth plot to kidnap mutants and use them for no good. He escapes and the chase is on as he tries to stop them — and anyone else in his way — before his memory is erased.
WHO’S IN IT?
It’s the buffed-up Jackman’s show all the way as Wolverine graduates to star status — and that’s exactly the problem. It turns out a little of this guy goes a long way especially when he’s presented in as humorless and unimaginative a manner as the deadly serious approach taken by Hugh (who also co-produced). Jackman acquits himself nicely in the numerous action scenes but fails to make a lasting human connection for Wolverine and the audience. Liev Schreiber is good as Sabretooth but plays it mostly on one note. His three fight scenes opposite Jackman are well-choreographed but become tiring. Danny Huston makes a fine heavy as the evil Stryker while Lynn Collins is lovely as Silverfox adding a nice touch of emotion to this mostly stoic CGI-fest. A promising new group of mutants are also introduced but unfortunately aren't given much to do. Standouts are Ryan Reynolds as the smart-talking Wade Wilson aka Deadpool; rapper will.i.am as John Wraith; and Kevin Durand as the humungous Fred J. Dukes aka The Blob. Durand is especially impressive in a boxing gym scene. Conversely Lost’s Dominic Monaghan receives too little screen time in the role of Bradley.
Wolverine’s CGI effects are predictably top-notch and a couple of big action set pieces are visually arresting including a motorcycle/helicopter chase that may lack credibility but is at least fun to watch.
Lighten up Wolvie. Jackman and everyone else seem to be taking this stuff way too seriously. The humanity that was a hallmark of the previous X-Men films also is largely AWOL and the picture takes a long time to get going. We’re at the 40-minute mark before the claws really start to come out and the psychological mumbo-jumbo stops.
In the lab Stryker promises to make a revenge-seeking Wolverine indestructible but his double-crossing antics only serve to unleash severe rage inspiring great balls of mutant fury as the furious mutant makes his great escape — sans clothing.
WHY YOU SHOULD SIT THROUGH SEVEN MINUTES OF END CREDITS?
For those who think the movie effectively ends when the credits roll here is a “heads up” to hang around.
NETFLIX OR MULTIPLEX?
Since reportedly about 100 000 people downloaded a rough cut when Wolverine was illegally pirated a few weeks ago why not help out poor 20th Century Fox and see it the legal way on the big screen? It’s a big improvement over your iMac.
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?