Tag Archives: Logan

Top 10 Films of 2017

2017, you suck. From the bottom of my barely-beating black heart, you suck.

You have done nothing this year to give anyone recompense for the misery you put them through the year before, nor have you restored anyone’s already-lack-of-faith in humanity. The hurricanes that ravaged Texas, Florida, and Puerto Rico. The wildfires burning California to a crisp. The mass shootings from Sutherland Springs all the way to the Las Vegas strip. North Korea’s Nuclear-powered temper tantrums with the United States. The rise of the white supremacist snowflakes. All of the sexual assault scandals ranging from Harvey Weinstein to Roy Moore. Not to mention the retweeter-in-chief sitting in the oval office right now.

I thought 2016 was bad. 2017 was so horribly deformed that Father Time looked down at it next to all of his yearly children, broke down weeping, and cried out “What have I done?!”. Thank God the movie theater was here to give us some relief from this year’s misery and nonsense.

A few housekeeping items before we get into this year’s top 10. First of all, as a general disclaimer, this list only includes movies that I have seen in 2017. I realize that movies such as The Shape of Water and Lady Bird may very well deserve to be on this list. However, I have not seen those movies, and I am not going to give unearned praise to movies that I have not reviewed on my own.

Second, this is a list of my personal favorite films from 2017. As this is the case, there are going to be absentees from this list that you’re going to be frustrated by. I know you thought Split and Dunkirk were the greatest films of the century and won’t survive unless you lick the film stock every two seconds, but I’m afraid to tell you that both of those movies sucked. A lot of films from the year have had a lot less to work with, yet have done a lot more with their material. They’re the ones that are going to be recognized on this list; not Mr. and Mrs. Oscar bait.

Speaking of having less to work with, let’s recognize this year’s special prize selection before we get into my top 10. Every year, I select one limited release film that did not get as much attention as many wide releases did, and yet achieved more thematically despite their smaller viewership. This year, my special prize goes to…

Special Prize: Your Name

SOURCE: Toho

A beautifully animated and emotionally poignant portrayal of love, joy, heartbreak, soul-searching, and the human connection that all of us share. Makoto Shinkai’s phenomenal animated film tells the story of Taki (Ryunosuke Kamiki) and Mitsuha (Mone Kamishiraishi), two Japanese teenagers who switch bodies every week against their will. This exploration of perspective and identity is integral in learning these character’s relationships, and as their soul intertwine, we come to learn and care more about these characters and their plights. And the animation is colorful, vibrant, and gorgeous, transforming seemingly simplistic sights into breathtakingly extraordinary ones. There have been many incredible animated films released this year, including Coco and Loving Vincent. Yet none are as inventive and captivating as Your Name is.

Now enough with the formalities. Let’s get into the only 10 good things to come out of 2017, starting with:


10. Star Wars: The Last Jedi

SOURCE: Walt Disney Studios Motion Pictures

The most recent film in the Star Wars saga, a film about our heroes letting us down, our expectations not being met, and our resolutions failing to be reached. When Rey (Daisy Ridley) finally comes face-to-face with Luke Skywalker (Mark Hamill), she seeks his guidance in training her to become a Jedi and help save her friends from the tyranny of the First Order. The visual effects and the action are nothing short of gorgeous, with the X-Wings, TIE Fighters, lightsabers, droids, and creatures across the galaxy reaching out to you and placing you vividly in the moment of any scene. Frontrunners Daisy Ridley and Mark Hamill shine in the film’s key roles, with Hamill specifically reprising Luke in a grimmer, more mournful façade. A great addition to the Star Wars saga, but one that nonetheless challenges your identity as a fan of the series. The Last Jedi will definitely be a heavily-talked about conversation topic for Star Wars fans for years to come. Three and a half stars.

9. Baby Driver

SOURCE: TriStar PicturesA sleek, stylish, and electric action-drama booming with nostalgia, in-cheek humor, and a hot-blooded soundtrack to boot. When a getaway driver named Baby (Ansel Elgort) decides he wants to get out of the criminal life, he has to go through his boss Doc (Kevin Spacey) and assassins Buddy (Jon Hamm) and Bats (Jamie Foxx) to save his girlfriend Debora (Lily James) and hit the road running. Elgort is a powerhouse in the lead, portraying a conflicted young man guided by a moral compass in a place where it points nowhere. The action and comedy blend together perfectly, with writer-director Edgar Wright framing the film as a homage to classic 1980’s espionage films. And the soundtrack is infectious in its appeal, with featured artists such as The Beach Boys, Queen, and Simon and Garfunkel here to keep your feet tapping. The year’s biggest surprise hit. Three and a half stars.

8. Logan

SOURCE: 20th Century FoxHugh Jackman’s last outing in a role that he has served well for more than 17 years, a finale that is equal parts violent, action-packed, emotional, heartbreaking, and powerful. When Logan (Jackman) is approached by a little girl named Laura (Dafne Keene) asking for his help, he teams up one last time with his mentor Charles Xavier (Patrick Stewart) to save Laura from the men that are after her. Refusing to shy away from the bloody, hard-R violence that made Deadpool a mainstay, Logan is the most emotional, the most vivid, and the most grounded story told in Wolverine’s saga. Instead of the action and the visual effects, writer-director James Mangold chooses to focus on something more practical to Wolverine: his humanity. Like The Dark Knight and Spider-Man 2, Logan relates to us on a more human level as opposed to a fantastical one, and the characters deal with real struggles as human beings, not as superheroes. Jackman and Stewart also give the most defined performances of their careers, playing their characters in their most vulnerable, broken appearance to date. Time will remember Wolverine for the hero. I will remember Logan for the man. Three and a half stars.

7. Get Out

SOURCE: Universal PicturesA strange, surreal, and deeply unusual horror film, but also immediately relevant to its intended audience. When an interracial couple goes to visit the girlfriend’s parents for a weekend getaway, they discover that her parents aren’t all that they seem: and neither are their neighbors. “Key & Peele” co-creator Jordan Peele comes forward here in his directing debut as a masterful storyteller, deconstructing and elaborating on white privilege and the devastating effects it can have on individual lives. Daniel Kaluuya and Lil Rel Howery respectively delivers the films most climactic and comedic moments, with Kaluuya particularly impressive in portraying a character that is confused, scared, and victimized in a situation where no one is coming to help him. Get Out is one of the most creative, compelling, riveting, and darkly humorous films I’ve seen in years. It works across the board as horror, comedy, drama, or satire. Take your pick. Three and a half stars.

6. Thor: Ragnarok

SOURCE: Walt Disney Studios Motion PicturesMarvel’s standout of the year, a movie that has absolutely no business being this good or memorable. When Thor (Chris Hemsworth) starts getting visions of Ragnarok, the prophesied destruction of Asgard, he has to team up with Valkyrie (Tessa Thompson), the Hulk (Mark Ruffalo), and Loki (Tom Hiddleston) to stop Hela, the Goddess of Death (Cate Blanchett) from destroying Asgard. Packing five different genres into one unorthodox mess of perfection, Thor: Ragnarok is a funny comedy, a thrilling action movie, an exciting adventure, a heartfelt drama, and a groundbreaking superhero epic all at once. The comedy hits exactly the right notes with the right lines. The drama, while at times a little too brisk, strikes with the emotional chord that it needs to. The action scenes are thrilling. The visual effects, mesmerizing. The music, synthesized and catchy. Even the Easter Eggs are infectious in their appeal. I haven’t had this much fun in a superhero movie since The Avengers in 2012. Yes, I’m comparing Thor: Ragnarok to The Avengers. Don’t knock it until you try it. Four stars.

5. It

SOURCE: Warner Bros. PicturesA terrifying and insightful personification of fear made possible by the brilliantly mad mind of Stephen King. When a group of kids discover an omniscient being disguised as a clown haunting their hometown, the children decide to team up and put an end to it’s villainy once and for all. The cast takes center-stage in a horror film fueled by complex emotions and ideas, with Bill Skarsgard perfectly embodying the madness and bloodlust that the iconic character Pennywise the dancing clown would possess. Director Andy Muschietti also smartly compares and juxtaposes human nature with that of a predator’s nature, asking us if these two concepts can exist in the same society. It is visually dynamic and haunting, with the makeup and costuming on Skarsgard being among the best work I’ve seen in years. A thoughtful, captivating, and intensifying look into the psychology of fear and how it affects our flawed perceptions of life. Four stars.

4. Detroit

SOURCE: Annapurna PicturesA cruel, horrifying, and maddening fact-based account of one of the most egregious cases of police brutality in American history. During the 12th Street Detroit riots of 1967, a team of rogue cops infiltrate their way through the Algier’s Motel and pin the inhabitants against the wall, demanding to know if they’re hiding any weapons inside the building. As the hours pass, the teenagers soon realize that this is not a run-of-the-mill police checkup, but instead a fight for survival between themselves and the men who are supposed to be upholding the law. Thoroughly researched and accurately dramatized from the Academy Award-winning team of screenwriter Mark Boal and director Kathryn Bigelow, Detroit is one of the most riveting and essential pieces of cinema you can watch this decade. The details of this real-life account are haunting and tragic, and the cast equally commits to recreating this monstrous night with passionate urgency. Newcomer Algee Smith especially shines as a troubled R&B musician, a terrified kid caught in this confusion of racial prejudice and hatred that permanently damages him for the rest of his life. Don’t turn away from Detroit. Watch and be horrified by our nation’s history. Four stars.

3. Wonder Woman

SOURCE: Warner Bros. Pictures

A blessing to both cinema and gender equality, a film that propels its female protagonist as not only just as capable as the men around her, but in many scenes is better suited for more difficult tasks. Gal Gadot reprises her role as Diana Prince, an Amazonian born on the hidden island of Themyscira where her and her Amazonian sisters reside. When Ares the God of War makes his return to wreck havok on the planet, Diana suits up in Themyscira’s sacred armor, lasso, shield, and sword and sets out to defeat Ares and save the world. The action is fast-paced and enthralling, with Wonder Woman charging through German soldiers and toppling over buildings like the aftermath of a Superman battle. Yet, the softer moments leading up to the action is what captures us the most, with Diana finding her place in a constantly shifting world ruled by male conflict and ego. Gadot remains emotionally persistent throughout the picture, while director Patty Jenkins handles both visually spectacular scenes and emotionally grounded moments with a surprising amount of finesse. In a day and age filled with cold, bleak, heartless blockbusters, Wonder Woman is a breath of fresh air we all desperately needed. Four stars.

2. The Big Sick

SOURCE:

One of the most pure, honest, and heartfelt experiences you can have at the cinema this decade. Telling the story of how comedian Kumail Nanjiani met his future wife Emily (Portrayed by Zoe Kazan), The Big Sick shows their love story starting off in a comedy club, to a hospital wait room, to New York as this magical film shows us how love transcends all cultural barriers. Nanjiani is an open book here as a writer and as an artist, telling a part of his life story with the sincerity and honesty needed to make it work. He spits out clever one-liners like they’re coming out of a comedy machine, yet he also embodies the emotional turmoil needed to make his story tragically believable, not just entertaining. Director Michael Showalter directs the entire cast impeccably here, making every scene feel genuine and down-to-Earth. If The Big Sick feels real, that’s because it is. Four stars.

1. War for the Planet of the Apes

SOURCE: 20th Century Fox

An epic and emotional conclusion to this prequel trilogy that functions as a summer blockbuster, a war drama, and a somber tragedy all at once. When the apes’ forest home is raided and the apes are left broken and displaced, their leader Caesar (Andy Serkis) sets out on a journey for vengeance against the humans who took the lives of his primate brethren and end this insufferable war. Featuring a masterful performance by the motion-capture king Andy Serkis himself, War for the Planet of the Apes is an intimate, intense personal drama disguised as an action blockbuster, equal parts powerful, emotional, and morally conflicting. Writer-director Matt Reeves pulls inspiration from all of the greatest war classics in this inspired, original take on the Planet of the Apes franchise, throwing his characters through compelling, thought-provoking scenarios as opposed to mindlessly action-packed ones. The visual effects are also at their best in the series, not only accurately animating the apes’ physical characteristics and mannerisms, but also their facial expressions and emotional reactions. The best Planet of the Apes movie out of the series by far, and my pick for film of the year. Four stars.


That’s all for this list, folks. Thank you for spending part of the new year with me and my favorite films from 2017. Tune in next year for when I rate the top 10 nuclear missiles that Kim Jong-Un will inevitably fire at us.

– David Dunn

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“LOGAN” Review (✫✫✫1/2)

SOURCE: 20th Century Fox

The greatest X-Man that ever lived.

Out of any actor to ever inhabit their roles, I don’t believe there has ever been one as committed as Hugh Jackman has been to Wolverine. The guy is 48 years old now. He’s played the superhero for 17 years for a total of nine films. Now he returns one last time as an elderly Logan for a film that is equal parts violent, action-packed, emotional, heartbreaking, and powerful. What a finale.

Taking place far into the distant future in the year 2029, James “Logan” Howlett (Jackman) is no longer Wolverine or an X-Man. Now he’s just old man Logan, taking care of himself and an aged Charles Xavier (Patrick Stewart) in a world where mutants no longer exist. Neither of them are in their prime state of health. Charles is facing a degenerative brain disease that causes daily seizures, which in combination with his mutation sends out psychic shock waves that can kill anyone within a 100-yard radius. Logan himself is barely even healing anymore, and he self-medicates with a bottle of Jack to cope with the pain. Both of these men are at the end of their ropes. This is not a place where we expected either of them to be.

Enter a little girl named Laura (Dafne Keen), who Charles discovers is one of the last remaining mutants alive. On the run from a squad of cybernetic hitmen called the Reavers, Laura turns to Logan and Charles as her only hope to escape. While Charles is eager to help, Logan is done with the hero days and just wants to be left alone. But as he keeps getting roped into this pursuit, Logan discovers how he’s connected to Laura and the Reavers and how everything he’s ever been through has lead him up to this moment.

First and foremost, let’s get the obvious out of the way: Logan is rated a hard R. No, this is not a passive R rating like The King’s Speech with a small string of curse words. More like a Hacksaw Ridge, Deadpool, Hateful Eight R rating packed with bloody violence, gratuitous gore, dismembered limbs, exploding body parts, decapitated heads, and F bombs the size of Nagasaki. And I thought the mansion raid scene in X2 was rough. If the X2 Wolverine went head-to-head against Logan in this movie, Logan would literally shred him into a pile of bloody red meat. Period.

As someone who is a strong advocate for the PG-13 rating, I didn’t know how I was going to feel about the R-rated violence in Logan. None of the other X-Men movies would have improved if the violence were increased one bit. Not even the Wolverine films, which fans have been advocating for more mature content for a long time now. Yet strangely enough, the heightened violence worked very well for Logan and didn’t feel forced or unnecessary. Why is that?

I think it’s because in context to this film, it makes sense for Logan’s story. By this point in his life, he’s well over 100 years old. He’s literally seen decades of violence, both committed to him and committed by him. He’s seen friends, enemies, and innocents fall to the blades in his body. He’s lived a long, tired, blood-soaked life filled with tragedy and regret.

By the time we get to Logan, he’s not allowed to shy away from all of the violence he’s experienced in his life. So why should we? Logan is very confrontational in what the character has had to face all by himself, and for the first time ever in the series, it won’t allow us to look away from the violence Logan has had to struggle with. As one character points out in the film, killing is like a brand. And a brand sticks.

This is a brilliant entry by writer-director James Mangold, who previously directed The Wolverine in the X-Men saga. Instead of the action and the visual effects, Mangold chooses to focus on something more practical to Wolverine: his humanity. More than almost any of the other X-Men films, Logan is the most emotional, the most vivid, and the most grounded story told in Wolverine’s saga. Like The Dark Knight and Spider-Man 2, Logan relates to us on a more human level as opposed to a fantastical one. In one of the greatest moments of the picture, Logan turns to Laura and tells her “Don’t be what they made you.” I wonder how hard he wishes someone told him that same thing when he was Laura’s age.

As this is one of Wolverine’s most emotional adventures, so too is this the best demonstration of Hugh Jackman’s talent. The more I watch him, the more impressed I am by his range as an actor. This is a guy who has performed numerous roles besides Wolverine, from The Prestige to Les Miserables to Prisoners. How he can bounce from those roles back to Wolverine constantly impresses me, and the fact that he comes back and gives a performance as powerful and demanding as this shows how seriously he takes his roles as an actor. Patrick Stewart also gives a heartfelt performance and displays Professor X in his most vulnerable, broken appearance to date. Keen was also fitting in her role as Laura, although most of her scenes required nothing more than just fiercely death-glaring at everything she looks at.

I won’t tell you how Logan ends, although I’m sure you’ll have already guessed it. I will say that the thing that stays with you most is not how Logan ends, but of the smaller moments that lead up to it. I caught myself remembering how Logan first met the X-Men in the earlier movies, how the stray loner found a family, how he has lost the ones he’s loved most, how many friends he’s seen die, and how every small, intimate moment he’s kept close to his heart has lead him here. Take note of the last thing Logan says to Laura, the last thing Laura does for Logan, and the last shot that Mangold chooses to linger on. Time will remember Wolverine for the hero. I will remember Logan for the man.

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“X-MEN ORIGINS: WOLVERINE” Review (✫)

SOURCE: 20th Century Fox

Pop those claws back in, bub. 

The fatal mistake that X-Men Origins: Wolverine makes besides its God-awful title is focusing more on the “X-Men” part than the “Wolverine” part. We’ve seen three X-Men movies now, guys. We get it. Mankind fears and hates mutants. Mutants are the next stage in human evolution. Blah blah blah, all that jazz. But with a Wolverine-centered movie, I was hoping that they would focus less on the recurring themes of the series and make it a more personal narrative to everyone’s favorite X-Man. Unfortunately, the studio didn’t want the same thing. Instead, X-Men Origins: Wolverine is more focused on making comic book cameos than it is in making a compelling story for its key character. It’s more of an X-Men movie than it is a Wolverine movie, and it’s not a good one at that.

In this prequel to the X-Men trilogy, we discover the origins of Wolverine, A.K.A. James Howlett (Hugh Jackman). When his unusual mutant powers break out and James discovers the claws in his body, James goes on the run with his brother Victor Creed, A.K.A. Sabretooth (Liev Schreiber). After fighting in the Vietnam war together, the two brothers join a mutant task force called Team X that is led by Major William Stryker (Danny Huston). But after one too many violent genocides from the task force, James resigns from Team X and tries to live a normal life by himself and his lover Kayla Silverfox (Lynn Collins). Now Sabretooth and Team X have come back into James’ life, and he has to sink once again into his Wolverine alter-ego to free himself of his past forever.

Right off the bat, I need to point out the biggest flaw with this haphazard of a movie: it’s too much. X-Men Origins: Wolverine tries to do too many things all at once, and it does all of them badly. It tries to be a Wolverine origin story, an X-Men prequel, an introduction to new mutant characters, and a fun action movie on top of all of this.

Let me leisurely break down why it fails in every one of these goals:

1) The screenplay is too by-the-books. Skip Woods, who wrote Hitman prior to this, focuses too much on explaining Wolverine’s history and not enough on how it impacts him as a character. There’s no teeth in it, no grit or compelling force that makes his story worthwhile or meaningful to us. It feels more like fanfiction written for discussion rather than an established continuity for the X-Men universe.

2) Speaking of the X-Men, there are two X-Men here in the movie besides Wolverine. They are the younger Scott Summers/Cyclops, portrayed by Tim Pocock, and Patrick Stewart as Charles Xavier, here with the use of his legs. There is absolutely zero reason to have them in this movie. They contribute nothing to the story, nothing to Wolverine’s origin, and nothing that makes any worthwhile impact on the film. They’re only there as forced cameos so that viewers can point at them and be like “Uh Look! That’s them before the X-Men movies! Huh huh.” Except that this now creates a massive plot hole, once you question how they could be so close to the action, yet not remember him years later.

3) So we already have three characters we don’t care about in the movie. Want to add 15 more just for fun? No? Well too bad, here they are anyway. In most of the X-Men movies, its hard to keep up with the full roster because of how many characters are jam-packed into them. But now it’s getting ridiculous. Besides the aforementioned characters, there are a slew of other mutants here that are not memorable, or useful, in any of their scenes. We have will.i.am as a teleporter, Kevin Durand whose mutant power is literally being fat, Dominic Monaghan as a living battery, Taylor Kitsch as someone who can light cards on fire, and Ryan Reynolds with his mouth sewn shut who has blades coming out of his arms. The logic of that one just baffles me completely. If you have literal swords in your arms, how do you plan to even move them around? One wrong move, and you have a giant blade sticking out of your elbow. Imagine how inconvenient that would be at the dinner table.

4) There’s no excuse for this one. No excuse that in even in a Wolverine movie, the visual effects and the fight scenes are garbage. In X2, we had a great demonstration of Wolverine’s savagery as he ripped, stabbed, and mercilessly shredded people in the mansion raid scene. Here, that grit and violence is gone as Wolverine blows up helicopters, topples over buildings, and even gets into boxing fist-fights just like any other stock action hero would. Some of the fight scenes are so ridiculous that having Arnold Schwarzenegger in them would make more sense than Hugh Jackman. I can’t make this up. It’s so cartoonish and stupid that I was left wondering if this is why Stan Lee didn’t film a cameo for this movie. I wouldn’t put it past him if that were the case.

Does it sound like I’m spreading myself thin here? That’s probably because I’m writing about a movie that is spreading itself thin. X-Men Origins: Wolverine is not only the worst title out of the X-Men movies so far: it is also its unequivocal worst film. I detested every moronic minute of this insipid, idiotic, pretend-thriller. Nothing landed in this movie. The characters, the acting, the writing, the choppy editing, the fights, everything falls apart and fails to deliver anything of any value. Fans complained about X-Men: The Last Stand, but at least that one expressed some interesting ideas. X-Men Origins: Wolverine fails to even be stupidly fun. It just reaches stupid.

I give this film one point, and one point only, and that is that Hugh Jackman, as always, makes a great Wolverine. His snarl, his ferocity, his fierce presence commands the role. He is perhaps one of the greatest superhero casting decisions ever made, next to Robert Downey Jr. as Iron Man or Wesley Snipes as Blade. The problem isn’t Jackman’s performance. The problem is the movie doesn’t know what to do with his performance. Because of this, Jackman’s efforts are in vain as he’s thrown through a silly script and an even sillier movie, downplaying his emotions and his efforts in the role. Say what you will about the previous X-Men movies, but Wolverine deserves better treatment than that.

By the end of the film, Wolverine’s story concludes exactly as you expect it to: with his memory wiped, forgetting everything he just went through. I wish I were in his position.

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