Tag Archives: X-men: The Last Stand

Top Ten Films Of 2014

Has anyone ever stopped to wonder why all of the best of the year lists have to be in the top ten? Like, what sort of critic was working on his list and thought that ten would be the magic number? Why ten and not twelve? Or fifteen? Five? Twenty? Eight? Why was ten specifically chosen as the big number? Was it chosen at random, or was it actually chosen for some relevant, significant reason?

Regardless of whatever the case may be, I’m choosing to be a little rebellious this year. For the past few years, I’ve seen enough films to make a “Top 15″ list if I wanted to, but if I had done that, my site viewership would go down by about twenty views.

So this year, to battle the preconceived notion that “best of the year” lists have to have ten movies, I’m doing two different things. 1) I’m adding an “honorable mentions” selection that while those films aren’t necessarily in my top ten, they are still significant films that have contributed to the year’s industry regardless. 2) In honor of our first full year without the wise, sometime snarky, words of film critic Roger Ebert, I’m offering a special Grand Jury Prize, which honors a film from the year which has made a notable accomplishment that fits outside of my year’s top ten.

As always, there is a few things you need to know before I get into my year’s best. First of all, I haven’t seen all of the films the year has had to offer. I’ve heard from so many people how Jean-Marc Vallee’s Wild was emotionally stirring, with Reese Witherspoon’s performance being the greatest highlight of the film. I’ve also read from critics that Selma, A Most Violent Year, and American Sniper were great movies as well, but guess what? None of those movies get a wide release until after Dec. 31, so I’m not able to even see those films until after the year anyway. So what am I going to do? Release a revision to my current list, or add those films to 2015 if they’re good enough? I’ll make a decision when it comes to that. It’s the studio’s faults for releasing those movies so late into the year anyway. Blasted film mongers.

Secondly, and perhaps more significantly, this is my list for the best films of 2014. Not yours. There has been high praise from many notable films of the year, including Edge of Tomorrow, The Theory of Everything, and Captain America: The Winter Soldier. None of those films will be on my top ten list because I didn’t deem them worthy enough to be on there. It’s nothing against the films or the filmmakers: I just didn’t think they were good enough.

If you’re not satisfied with that, then please, make your own top ten list. I’d love to read it, and if your reasonings are sound enough, I’d like to share it with others.

Now then, let’s hop to it, shall we? Here are my top ten films of 2014:

10. Interstellar 

A mesmerizing, breathtaking, and exhilarating journey that may have only slightly exceeded it’s grasp. Based on an idea by physicist Kip Thorne and directed by Christopher Nolan, Interstellar takes place in the future on a dying planet Earth, where the only source of sustainable food is by growing corn. When former aircraft pilot Cooper (Matthew McConaughey) stumbles upon a secret station that has been hiding NASA for so many years, Cooper enlists in a daring space mission to find a new planet that will be able to sustain and save the human race. A testament to the quality of film that Nolan is consistent in making, Interstellar is a brilliantly woven, thought-provoking plot, invoking the same themes of humanity and identity that Nolan exercises in all of his films. McConaughey reaches an emotional depth much deeper than past “Nolan” actors, and succeeds in making his character more human than hero. This is Nolan’s most emotional movie yet, but it’s also his most complicated and convoluted. But if Nolan’s only real flaw with this film is being overly ambitious, I don’t consider that a flaw at all. Three and a half stars.

9. The Grand Budapest Hotel

A crafty and artsy film that acts as a homage to the early days of cinema. After being framed for a violent murder of one of his former hotel guests, Concierge Gustave (Ralph Fiennes) teams up with his young apprentice Zero (Tony Revolori) to set out and prove his innocence through a series of weird, wacky, and crazy adventures. Written and directed by Wes Anderson, who was nominated for an Academy Award for The Royal Tenenbaums and Moonrise Kingdom, The Grand Budapest Hotel is a peculiar, quirky film, a fun and enjoyable ride in it’s own singular way. Anderson is very specific with the direction of the film, using practical effects and set pieces that gives the film a very distinct visual style and aesthetic. The antics Gustave and Zero go through are the stuff of slapstick gold, with these guys doing silly stunts and chase sequences that reminds me of the silent film days of Buster Keaton and Charlie Chaplin. It’s definitely seasoned for the art house crowd, and it’s definitely more difficult to appeal to the masses. But if you allow yourself to be lost in it and have fun with it, you’ll find that it is easily the most unique film of the year. Three and a half stars.

8. How To Train Your Dragon 2

A wildly exciting and entertaining animated ride that appeals to both kids and adults. When a crusade of dragon-hunters reach the land of Berk and begin their hunt for the flying beasts, Hiccup (Jay Baruchel) must team up once again with his dragon Toothless to stop the brigade and save Berk’s dragons and dragon riders. Written and directed by Dean DuBlois, who returned from directing the first film, How To Train Your Dragon 2 is a near-perfect follow-up. It hits on every note it needs to, from the comedy, to the animation, to the action, to the emotion. Hiccup is a much stronger, yet more vulnerable, character now, and needs to face more mature situations now as a grown man rather than as he did when he was a boy. In many ways, How To Train Your Dragon 2 is to it’s first counterpart as Hiccup is to his younger self: they both grew. Three and a half stars.

7. Gone Girl

A brilliantly frustrating thriller that exercises themes of infidelity and media harassment. When Nick Dunne’s (Ben Affleck) wife Amy (Rosamund Pike) goes missing, all eyes turn to Nick for what happened to his wife. When clues slowly surface and more details surrounding the disappearance reveal themselves, everyone is asking the same question: did Nick Dunne kill his wife? Directed by David Fincher and written by author Gillian Flynn, Gone Girl is a masterfully orchestrated thriller, equal parts daring, inventive, intelligent, and unpredictable. Fincher propels Flynn’s brilliant plot forward with expert direction, eye-striking camerawork, and a cast that Fincher pulls the best from. This movie is like a game of cat and mouse, except no one really knows who is the cat or mouse. There is not one note in the film that you can guess is coming. Three and a half stars.

6. Dawn of the Planet of the Apes

A compelling and exciting survivalist-drama that looks at the human/primate condition as two sides to one coin. After the chemical attack on planet Earth that took place at the end of Rise of the Planet of the Apes, Dawn of the Planet of the Apes follows the story of Caesar (Andy Serkis) and Malcolm (Jason Clarke), the leaders of the apes and the humans, respectively. As the human-primate war rages on violently, Caesar and Malcolm begin to see that the apes and the humans aren’t so different from each other, and they begin to explore any possibilities of peace between two races. Matt Reeves builds an intelligent, in-depth story around Dawn of the Planet of the Apes, and handles its premise with skill and precision.  It surprising that the basis of this film wasn’t grounded in action or ridiculous CGI stunts, but rather in small, intimate moments of conversation and ape-sign-language that characters share with each other. Serkis is a revelation in the movie, and deserves an Oscar nomination for both his physical and emotional performance. Four stars.

5. Birdman

One of the most mesmerizing, unique, disturbing, shocking, and darkly funny films I’ve ever seen. Alejandro Gonzalez Inarritu writes and directs this ingenious dramedy starring Michael Keaton as Riggan Thompson, a washed-up movie actor trying to escape his image in a former superhero role by adapting his favorite broadway play to the stage. Keaton is a natural in the role, relating his own experience to portraying Batman in order to further authenticity for the character. Cinematographer Emanuel Lubeski contributes to the visual design of the film, shooting and editing it to look like one, continuous shot rather than multiple longer takes. But Inarritu is the most essential storyteller here, making a visual and emotional masterpiece that is so distinct in its own language that it is impossible to define it, let alone replace it. Four stars.

4. Whiplash

One of the most edgy, thrilling, and provocative films of the year. Miles Teller stars as Andrew, an upcoming college student who is majoring in music and dreams of becoming one of the best drummers in the country. A series of events lands him in the top jazz orchestra of Shaffer Conservatory and under the tutelage of Terrence Fletcher (J.K. Simmons), a brilliant but harsh and antagonistic instructor who is known to go very hard on his students. Andrew and Fletcher both develop an intense rivalry that both hurts Andrew, angers Fletcher, and yet equally compels them both to become the very best they can be. Writer/director Damien Chazelle conducts both actors through his sophomore effort, and does a great job in producing a tense, electric vibe consistently throughout the film. Teller and Simmons’ chemistry with each other is equally perfect, with the both of them bouncing off of each other’s words and emotions as perfectly as a drum beat. This film is about more than just music. It’s about the human desire to be great and what sacrifices we’d make to get there. Four stars.

3. Boyhood

The most revolutionary film of the year, ambitious in both production and vision. A twelve-year project pioneered by writer/director Richard Linklater, Boyhood tells the story of Mason’s (Ellar Coltrane) childhood, chronicling his entire life from when he was six years old, up until when he turns 18 and leaves for college. The movie isn’t so much a story as it is a scrapbook of memories, and Linklater is pulling each photograph out of it just to show it to us. When he is younger, Ellar isn’t acting but living, behaving like any other child would in the moment because he is in the moment. As he gets older, his performance gets more stagnant and Coltrane becomes more of a surrogate for us to express our emotions through, rather than experiencing his own. In this day and age, it’s rare to find a film as real and honest as Boyhood is. Four stars.

2. X-men: Days of Future Past

The best entry out of the X-men franchise, and the best superhero movie of the year. Serving as a sequel to both 2011’s X-men: First Class and 2006’s X-men: The Last Stand, X-men: Days of Future Past is set in the apocalyptic future where mutants are being exterminated by humanoid robots called “Sentinels”. Having only one chance to go back in time and stop this future from ever happening, Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) send Wolverine (Hugh Jackman) through time to their younger selves (Portrayed by James McAvoy and Michael Fassbender) so they can stop the triggering event and save the future. Directed by Bryan Singer, who formerly helmed the first two entries in the franchise, X-men: Days of Future Past is a game changer. It is not only a visually-dazzling and highly climactic sci-fi blockbuster: it is a vastly intelligent and contemplative story that focuses on its recurring themes of racism and xenophobia, once again bringing the consequences of discrimination to the forefront. X-men: Days of Future Past is one of those movies that restores your faith in the superhero genre. Four stars.

And finally, my number one film of the year is —

1. The Fault In Our Stars

Surprised? I’m not. The Fault In Our Stars is one of the most magical, heartbreaking, and genuine films you will ever see, and is more than worthy of being called the most emotional film of the year. Based off of the novel by John Green, The Fault In Our Stars follows the love story of two Cancer-stricken teenagers: the shy and book-loving Hazel Grace (Shailene Woodley) and the optimistic amputee Gus (Ansel Elgort). Written and directed by independent filmmaker Josh Boone, The Fault In Our Stars is one of the best stories ever translated from book to film. I initially was skeptical on seeing this film, considering how much it seemed to have been doused in rom-com syndrome. The reality couldn’t be further from the truth. Boone adapts Green’s story perfectly to the big screen, retaining everything in the novel from the visual details to the words that were written. But its Woodley and Elgort that sells it so well, their chemistry that vibrates so wonderfully with each other and leaves such an impression on you. Trust me when I say this isn’t your typical rom-com: it’s a heartfelt drama disguised as a tween movie, and it is the best of it’s kind. Four stars.

And finally, this year’s first Grand Jury Prize appropriately goes to Steve James’ documented biography Life Itself. Following Roger Ebert’s life and career from him growing up in Chicago, to when he got his first reporting job, to when he won the Nobel Prize for film criticism, to when he lost his best friend, to when he got Thyroid cancer, this film is everything that Roger Ebert is: funny, honest, heartfelt, unabashed, unflinching, and real. It doesn’t give you a peppered-up look at his life: it’s whole and accurate, as genuine as any of the reviews he’s written. I’m probably biased towards this subject, but the subject doesn’t count as long as it is handled well. James’ handles this story with respect and humility, and ends up telling a story about life itself rather than just limiting it to Roger’s story. It’s my favorite documentary of the year, and it brings me great pleasure to award my first Grand Jury Prize to this wonderful film tribute.

Honorable mentions include the creepy and morally ambiguous Nightcrawler, the funny yet stylish Guardians of the Galaxy, the humorously innovative The Lego Movie, and the quietly thrilling The Imitation Game, featuring the year’s best performance from actor Benedict Cumberbatch. Not all films can be honored at the end of the year compilations, but this year I was glad to have seen so many films and give each of them a chance to shine in their own way.

All the same, if you feel differently about some of the films on my list, or you have seen another film that deserves to be recognized, please comment about it. Or make your own list. Movies are deemed as great films not from individuals, but from the masses, and the only way you can tell if a movie has truly accomplished something is if it has the same effect on all its viewers.

On that note, my fellow moviegoers, I end with a classic line from my favorite film critic: “I’ll see you at the movies.”

– David Dunn

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“X-MEN: THE LAST STAND” Review (✫✫✫)

How can you “cure” what was intended as a gift?

There’s an obvious danger with the production of second sequels made with planned trilogies: how do you keep things fresh and interesting and make sure none of the material isn’t stretched out or forced? For many trilogies, the third entry is the one filmmakers are usually least concerned about. Why should they be? They’ve already made their biggest impact with the first two films and people will go and see it anyway, so why should they extend any effort? I like to call this “the trilogy curse,” and it explains why so many second sequels end up letting down their entire franchise (*cough* Terminator 3 *cough*).

The best thing that can be said for X-men: The Last Stand is that it does a good job avoiding the trilogy curse. While some may be frustrated by the liberties it took and the deviations it made from the source material, I for one found it to be very liberating. It changes things up a bit, made things different, and did one huge thing that many comic book movies can’t do: it made it unpredictable. Because of this, the stakes were higher, the action was more involving, and it made you invest yourself more in the characters rather than waiting for everyone to hold hands in the end for that “happily ever after” ending many films get trapped into. X-men: The Last Stand accomplished something important: it proved that comic-book movies can deviate from their source material and still be good.

After saving both human and mutantkind at the shrouded site where Wolverine (Hugh Jackman) gained his metal claws and lost his memory many years ago, X-men: The Last Stand takes place as the X-men still try to cope with the death of their beloved Jean Grey (Famke Jannsen), who sacrificed herself to save her friends as she became engulfed by a sea of raging waters. Most affected by this is her boyfriend Scott “Cyclops” Summers (James Marsden), who can still hear her voice in his head as he sits in their bedroom reminiscing about her.

The X-men, however, have a much more pressing issue at hand: a company called Worthington Labs has recently invented a mutation antibody that basically attacks mutant cells and nullifies them. The public dubbed it as a “cure,” and it essentially turns mutants into regular human beings, forever granting themselves the life of normalcy they’ve so long desired. Of course, this new invention stirs up quite a controversy among the mutant community, especially regarding Magneto (Ian McKellan) and his extremist brotherhood of mutants. When mutants come to terms with this cure and what it means for all of them, they must make a decision of whether or not to fight against the cure, or fight for humanity’s survival at all.

The first out of the X-men series not to be directed by Bryan Singer, filmmaker Brett Ratner (The Rush Hour series) steps in to fill in the reigns of Singer’s mostly definitive first two installments. How does he do? Well, the good news is that he holds his own pretty well, and makes a movie that he can call all his own. Ratner poses an important question here that I think the other two films mostly sidesteps: if you have an unwanted gift, should you keep it? For me when I watched the movie, I saw an image deeper than that of a mutant standing in line to take a shot that would take away their powers. I saw a pregnant teenager waiting in line for an abortion for that baby that she never intended to have in the first place, or an image of a man going in for a gender change because he doesn’t feel comfortable in his current body.

Controversial? Yes, but that’s how the film intends for it to be. Much like its predecessors, The Last Stand handles its political side well, and is being more ambitious by taking a different spin from the standard supremacist/racism themes that they explored in the earlier installments.

The cast is good, but that’s standard at this point. We expect Jackman to be good as Wolverine. We expect Patrick Stewart and McKellan to be convincing as the leaders for their own specific causes. We expect Storm (Halle Berry) to be the strong female hero that she is, and we expect Iceman (Shawn Ashmore) to be the kind-hearted, considerate teenager while Rogue (Anna Paquin) remains the estranged and desperately shy mutant who continuously questions keeping her abilities. The one we should notice more than anyone else is Janssen as Jean Grey. Yes, she’s back, and she has a much more villainous spin on her that comic fans may or may not be happy to see. She’s much more versatile in this movie, bouncing brilliantly in between angry and hateful to scared and grief-stricken. Without giving too much away, I really liked her role in this movie as both a protagonist and antagonist, and I think X-men fans will be just as pleased with her performance as well.

The only thing I don’t like with this movie is its climax. The buildup earlier in the film was so much better, with the backstory of Jean Grey, Professor X and Magneto culminating so ingeniously into a plot where all the danger was real and there was no way to predict who lived and who died. Another great scene with excellent buildup was when Wolverine went searching for Jean, fighting a small group of mutants within the confusion of a lush, maze-like forest. The final fight, however, could not have been more standard and one-note if it tried. It plays out exactly as you would predict it to, dragging out into a disarray of violence and loud noises until finally it ends in explosions and agonizing screams. Enough already. The rest of the movie did a good job building up anticipation: did you really have to give in right before the end?

Still, I had fun with this movie. I know “fun” is a very loose term that can be used within the film community, especially when you’re speaking about a potential deal breaker such as this. Still, I’m going to say it: this movie was fun. Why am I saying that? Because I enjoyed it, that’s why. I genuinely liked it. I liked the big, boisterous action scenes orchestrated on a grander scale in which I don’t think would have been possible six years ago. I liked the darker, more thematic moments between characters where they took time to build up the stakes and what was on the line here. Mostly however, I liked how it humanized the mutants, and made them genuine flesh-and-blood human beings that could be killed and harmed. It didn’t immunize them from death because of their fans’ love for them: it made them mortal, and it presented a real, legitimate threat in the film because of that.

I know many people who are going to disagree with me, and that there will be many who love these characters too much to be able to see them get killed off and just be okay with it. Let me set the news down with you easily: if you’re that bothered by seeing a character’s death in a movie, maybe you shouldn’t be watching that movie in the first place. These filmmakers set out to make a convincing movie where the threat was imminent and real: not to please the comic-book die hard who gets frustrated if a comic book character’s hair isn’t the right color. Maybe that was Ratner’s second goal beyond making a good sequel, to see how many changes he could make before the fans starting writing death threats to his home mailbox.

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“X-MEN: FIRST CLASS” Review (✫✫)

Pretend G-men trying to skip out of class.

The very first shot of X-men: First Class is the exact same scene of the Holocaust, frame-by-frame of the very first X-men movie directed by Brian Singer. Not a good way to start off your movie by copying another one, isn’t it? The very next scene after briefly skipping through that one is a young Charles Xavier’s encounter with a young, hungry blue-skinned mutant named Raven who was trying to steal food from his refrigerator. Talking to her in a very sincere, comforting voice, he assures her that she doesn’t have to steal, and reaffirms it by saying that she’ll never have to steal again. Touching. I wonder how this conversation went over with his mother?

Years pass, and we’re reintroduced to the characters we’ve come to know for the past few movies now. Erik Lenshurr (Michael Fassbender), the man soon to become Magneto, is out on the hunt, looking for the man who killed his family and tortured him as a child back when he was a Jew in the concentration camps. Charles Xavier (James McAvoy) is now in college with the now much more mature Raven (Jennifer Lawrence), who is pursuing his masters degree in psychology.

There’s a mutual enemy that unites these three individuals together: Sebastian Shaw (Kevin Bacon), a menacing and conniving mutant with the ability to absorb and redistribute energy. That means a grenade can explode in his hand and he can transfer the explosion straight into you with a touch of his finger. Shaw is the man who tortured Erik back when he was a young child, and Xavier discovers a sinister plot that Shaw is setting to unveil upon the world. Erik and Charles combine their resources and their efforts to form a mutant team to work together and stop Shaw.

And how exactly does Shaw plan to carry out this giant, dastardly plan? By conspiring and coercing the Cuban Missile Crisis among nations, that’s how. How original. I wonder if these guys considered overthrowing the Chinese government while they were at it?

Hypothetical question. If you hear the term “prequel” being used, what’s the first thing that comes to mind? For me, its the word “beginning”. Beginning, as in, the start of the story. Beginning as in, the start of a legacy. Beginning as in, filling in the holes of all the ambiguous stuff we were told in the original trilogy, and beginning as in making sure everything fits into a nice, nifty little package by the time the end credits roll.

As a superhero blockbuster alone, X-men First Class succeeds. It’s exciting, it’s visually stunning, it features everyone’s favorite X-men that they’ve come to know and love, and it has enough comic book lore in it to make even Kevin Smith giggle with glee. As an action movie meant to please summer movie lovers, it is fine. As a prequel to the critically-acclaimed series that it is based on, however, it is utter and absolute failure.

Three of the biggest goofs that completely and utterly frustrated me. 1) There were flashback scenes in X2, X-men: The Last Stand, and Origins: Wolverine where Xavier is clearly seen as to being able to stand. Yet at the conclusion of First Class (spoiler alert!) Erik deflects a bullet into Xavier’s spine, permanently paralyzing is legs. 2) In the first X-men, Professor X audibly said to Wolverine that him and Magneto helped build Cerebro together, while in this movie it is very clear that a mutant named Hank McCoy (Nicholas Hoult) was the one who built it instead of them. Magneto’s helmet also didn’t exist prior to X-men, whereas here it already does. And lastly 3) a cameo appearance of a certain three-clawed mutant meeting Xavier and Erik about halfway through the movie at a bar. Wouldn’t they have remembered him thirty years later, especially since one of them is a telepath?

These ignorances to the plot show me that instead of providing an accurate prequel to a highly-revered superhero series, the filmmakers were more interested in letting loose and having fun rather than making something straight-laced and refined. I’m all for fun and high-octane action movies, but if you go in ignoring everything else that happened in the movies previous to your own, you’re being disrespectful to the franchise.

Oh, the cast was more than exceptional, I won’t deny that. McAvoy portrays the younger Professor X wonderfully here, passing himself off as a sort of young Patrick Stewart that’s more reckless and immature than his older self. Bacon is smug and charismatic as Shaw, and even though his role wasn’t as compelling as Ian McKellan’s was in the original trilogy, it still served its purpose in the film.

I especially enjoyed Fassbender’s performance as the angry, relentless, and grief-stricken Erik Lenshurr. The staple performances in the series overall belong to Patrick Stewart and Ian McKellan, there’s no doubt beyond that. Still, Fassbender gives it his all here. You notice the effort he extends here, the passion and the fire he instills in this character. McKellan’s rendition of Magneto was calm, collective, and calculated, a great foil to the equally intelligent but more morally aligned Xavier. Here, Fassbender is neither calm nor calculated. He is simply a raging, hateful man, a mutant who has been in pain and alone all his life, desperately seeking some sort of way to fill the emptiness within his cold, solemn heart. I genuinely liked and appreciated his take on the character, even though he bends missiles in one scene that look about as realistic as a Tom and Jerry cartoon.

“But wasn’t it fun?” is a common argument I get from a lot of moviegoers. “Fun” is such a subjective word, and can mean any one of different things. In the aspect of simple, plain, straightforward blockbuster fun, I guess this movie satisfies. The problem is I didn’t go into X-men: First Class expecting a brainless blockbuster. I went into this expecting this to be exactly what it claimed to be: a start to the X-men’s journey, an insightful and hot-blooded prequel that showed perspective on how their story began. This wasn’t even close to being a prequel, ending with more questions where there should have been answers. Fox has already announced that a sequel is currently in the works to be released sometime in 2014, and here I am, thinking that these kids need to go to summer school before even thinking about going into the second semester.

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