The Mutant Menagerie: X2: X-Men United

X-Men 2 movie poster

 

In retrospect, the first X-Men movie did an incredible job of managing the introduction of a wide array of characters to mass audiences likely unfamiliar with the decades’ worth of continuity established in its comic book source material. But the sequel X2: X-Men United crowds the stage with too many new faces in addition to the returning original cast. In short order, audiences not only have to recollect the original characters but also learn how Stryker (Brian Cox), Iceman (Shawn Ashmore), Pyro (Aaron Stanford), and Lady Deathstryke (Kelly Hu) fit in to the mutant menagerie. X2 also expands the ranks of the Blue Man Mutant Group, with Nightcrawler (Alan Cumming) joining Mystique (Rebecca Romijn-Stamos) in head-to-toe body paint, later to be accompanied by Beast (Kelsey Grammar) in Brett Ratner’s risible X-Men 3: The Last Stand.

Alan Cumming in X2: X-Men UnitedNightcrawler auditions for a spot in the Blue Men Mutant Group

Holocaust survivor Magneto (Ian McKellen) is still just as genocidal as his former Nazi oppressors, an irony he fails to perceive despite it being pointed out to him repeatedly. His aims and obsessions make for a very good villain, but also for a virtual repeat of the previous movie’s plot. In the original (read The Dork Report review), Magneto built a device to forcibly mutate homo sapiens into homo superior, the arising species known as “mutants” to which both The X-Men and his Brotherhood of Evil Mutants belong. The weapon turned out to be faulty and instead simply killed every human within range. To a man like Magneto, said glitch was not a bug but a feature. Nothing if not persistent, he employs basically the same scheme in X2. New baddie Stryker has reverse-engineered Professor X’s mutant-detection device Cerebro into a weapon capable of killing all mutants en masse. Magneto plots to repurpose it to kill all humans instead.

Also recycled from the previous movie is the fact that Magneto is again not the movie’s true villain, despite long holding the rank of the X-Men’s official nemesis. The real antagonist last time around was intolerant politician Senator Robert Kelly (Bruce Davison). Now the foe is another powerless human, Colonel Stryker, a warmonger with a private army. Like Kelly, he’s a fervent speciesist, so enflamed with passionate hatred of mutants that he transforms his own mutant son Jason (Michael Reid McKay) into a component in his genocidal weapon.

Hugh Jackman in X2: X-Men UnitedWolverine babysits The New Mutants

One notable tweak to the original recipe is a healthier dose of violence and killing perpetrated by the fan-favorite Wolverine (Hugh Jackman). As a character, Wolverine is capable of both berserker rage and human empathy, but his movie incarnation seems to be able to turn it on and off at will. Coupled with a PG-13 rating dictating that his slaughter remain bloodless, this negates one of the tragic flaws of the character I recall from reading the comics as a kid. The Wolverine I remember constantly struggled to keep his animalistic side in check in order to live among his friends, lovers, and allies. The movie Wolverine is a little bit of a softy, actually, spending much of film babysitting mopey teen trio Iceman, Pyro, and Rogue, the latter still harboring an unrequited crush on a dude way too old, hairy, and Canadian for her.

X2’s biggest problem is that it has no sense of humor, allowing the grimness of the scenario to drain most of the fun out of the experience. The original had only a single credited screenwriter, David Hayter, but the sequel teams him with Michael Dougherty and Dan Harris — hinting that the crowded stage of actors was paralleled by a few too many cooks in the kitchen backstage. One good scene, at least, provides a reminder of what the first film got right: when the teen Iceman reveals his superpowers to his parents for the first time, his mother asks “Have you ever tried to… (awkward pause) not be a mutant?” It’s an excellent scene that uses humor to employ the sci-fi conceit of the mutant experience as a metaphor for a minority’s troubled coming of age.


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Mutant Mayhem: X-Men

X-Men movie poster

 

On a whim, this Dork Reporter decided to rewatch X-Men and found it surprisingly good, even better than I remembered from my first viewing almost 10 years ago. I used to be a comics fan, and read most of Chris Claremont and John Romita Jr.‘s lengthy run on The Uncanny X-Men series in the mid-80s. Even though I had long since stopped reading comics regularly by the time the movie was announced in 2000, I recall being convinced there was no way a live-action X-Men movie could not be a ridiculous folly. But I went to see it partly out of morbid curiosity and partly out of a sense of duty as an ex-fan (see what I did there?). As it turned out, writer David Hayter and director Bryan Singer’s expert adaptation of the Marvel Comics source material turned out more fun, clever, and exciting than it had any right to be. Most welcome of all, it is frequently laugh-out-loud funny (in a good way), a key ingredient unfortunately lacking in the mostly humorless (but still pretty good) sequel X2: X-Men United (2003).

Hayter and Singer managed to dig up every ounce of subtext baked into the X-Men mythos by original writer Stan Lee and artist Jack Kirby. At its heart, the X-Men series was essentially a neverending sci-fi soap opera with a noble moral of progressive social awareness. The weirdo superheroes that make up The X-Men are “mutants,” born of human parents but with superhuman powers typically manifesting during adolescence. Prior to Lee and Kirby’s innovation, comics’ superhero templates were either extraterrestrials like Superman or ordinary humans with artificially gained superpowers like Spider-Man (mere mortals Batman and Iron Man don’t count, no matter how inordinately driven to fight injustice). Unlike the physical ideal Superman, most of Lee and Kirby’s mutants did not view their powers as gifts, and some were outright monsters.

Patrick Stewart and Ian McKellen in X-MenThe Royal Shakespeare Company mutants face off

The X-Men formula also incorporates deeper themes of racism, xenophobia, and even evolution. Indeed, the entire premise is built upon the theory of evolution: as multiple species of humans walked the earth simultaneously hundreds of thousands of years ago, so too do humans now find themselves sharing the earth with arguably the next branch of homo sapiens’ evolution: known in the comics as “homo superior.” Carried through to the next logical conclusion, this mutant minority is feared and demonized as freaks by the humans that vastly outnumber them.

The X-Men’s sympathetic antagonist Erik Lehnsherr (Ian McKellen) is a survivor of a German concentration camp. The horrors he experienced at the hands of those that hated his race (but didn’t yet realize he was actually a different species) in 1944 Poland inform his actions as the supervillain Magneto. As he listens to contemporary American politicians argue over how to contain and suppress the increasing mutant population, he disgustedly states “I’ve heard these arguments before.” His former friend (and fellow mutant) Charles Xavier (Patrick Stewart) hopes to find a way to live in peace, and counters “That was a long time ago. Mankind has evolved since then.” But Magneto is unyielding. “Yes. Into us.”

Hugh Jackman in X-MenTalk to the claws

The crucial factor that had me simply assume the movie would be terrible was casting. It’s not hard to imagine a young actor able embody Spider-Man’s secret identity Peter Parker as a put-upon geek harboring tremendous reserves of guilt and righteousness. But how do you cast Wolverine, a diminutive, half-animal Canadian supersoldier with ridiculous hair? Easy! You hire the tall, absurdly handsome Australian studly song-and-dance man Hugh Jackman. Against all odds, he totally nailed the fan-favorite character. The moment in the film when this former X-Men comics fan decided that Jackman succeeded is a sequence in which he steals an X-motorcycle and discovers a handy turboboost button. The entire audience at the New York Ziegfeld theater laughed heartily along with his undisguised glee at its total awesomeness. This doubter was completely sold.

Another casting coup was the double-dose of Royal Shakespeare Company gravitas provided by McKellen and Stewart (both with extensive experience in fantasy and sci-fi genre material, as Gandalf in Lord of the Rings and Captain Picard in Star Trek: The Next Generation, respectively). Bruce Davison (as the xenophobic Senator Robert Kelly) also has a long history in science fiction, having starred in Willard and the influential classic The Lathe of Heaven.

Famke Janssen in X-MenJust don’t call her Marvel Girl

James Marsden later proved himself to be entertainingly charismatic in Enchanted, but here he’s a victim to the humorless character of Cyclops. As Wolverine correctly psychoanalyzes him, he’s a dick. Similarly, Famke Janssen isn’t given a whole lot to work with as the no-fun-please Dr. Jean Grey (known in the comics as Marvel GIrl, later to die and rise again as Phoenix in Brett Ratner’s crap sequel X-Men 3: The Last Stand – read The Dork Report review). But together with Jackman, the trio brings alive the Wolverine/Cyclops/Phoenix love triangle drawn from the comics, helping to make the movie accessible.

The one real weak spot in the cast is Halle Berry. Like Jennifer Lopez in Steven Soderbergh’s Out of Sight, she seems to have only one real acting performance under her belt (Monster’s Ball, of course). Here she turns in one of her most bland and toneless performances yet. For extra amusement, be sure to catch the deleted scenes on the DVD edition in which she can be heard affecting a weak pseudo-African accent. It’s a shame, because Storm was a very strong character in the comics around the time I read them. Writer Chris Claremont obviously had an affection for her, even promoting her to leader of the X-Men.

Hugh Jackman and Anna Paquin in X-MenFerocious mutant super-soldier Wolverine can really relate to Rogue’s teenage angst

Aside from casting, I imagine the second-biggest obstacle facing the filmmakers was how to introduce the complex X-Men universe to mainstream audiences while preserving its integrity to appease longtime fans. Hayter and Singer came up with the excellent solution of having us meet Professor X and his X-Men through the eyes of newbies Wolverine and Rogue (Anna “That’s my mother’s piano!” Paquin). Both are very different characters that share key common experiences that allow them to bond in a big brother / little sister relationship: Wolverine is a loner amnesiac unaware there are others like him, and Rogue is a young runaway isolated by particularly extreme powers that prevent her from experiencing normal human interaction. Almost anyone can identify with the painful coming of age that comes with her exaggerated adolescence. A startling moment of pathos occurs between them when she sees him wield the fearsome metal claws sheathed in his forearms: “When they come out, does it hurt?” “Every time.”

On an even more practical level, the filmmakers came up with an ingenious solution to the comics characters’ silly costumes by having the movie X-Men wear more photogenic uniforms. Cyclops’ joke about yellow and orange spandex is an easter egg for fans: Wolverine sports such an ensemble in the comics. Best of all, the requisite action set pieces are justified by the characters, not just the plot. For example, a big blow-out staged at a train station is the result of a heartbreaking misunderstanding that causes Rogue to flee the longed-for safe haven she had only just discovered.

The franchise is now set to continue with a trilogy of prequels including this summer’s X-Men Origins: Wolverine, and rumored projects X-Men Origins: First Class and X-Men Origins: Magneto. But with the first of these wracking up some notably awful reviews, it’s clear the first in the series will still stand as the best for some time.


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Things We Lost in the Fire

Things We Lost in the Fire

 

Things We Lost in the Fire is a melodrama modeled after 21 Grams in almost every way: the story of a nuclear family shattered by a random death, told as a nonlinear narrative, with conspicuously arty cinematography, and costarring Benicio Del Toro.

Even a single-sentence description of the basic plot conveys how overwrought things get: Audrey (Halle Berry) impulsively takes in her dead husband Brian’s (David Duchovny) heroin-addicted friend Jerry (Benicio Del Toro). Audrey’s motivations are semi-consciously selfish; she perhaps thinks that she can retain some connection with her dead husband by indefinitely extending his fruitless effort to help his childhood friend to kick his drug habit.

Things We Lost in the FireThis movie’s kind of a drag, don’t you think?

But unaware of the adage that one must beware what one asks for, she becomes resentful when her plan unexpectedly succeeds. Jerry does in fact begin to kick drugs, a neighbor takes an implausibly quick shine to him and offers him a job, he teaches one of her kids to swim (a task at which her husband had previously failed), and he responds to her flirtatious advances.

Inexplicably, the movie ends with the wrong Velvet Underground song; someone chose “Sweet Jane” over “Heroin.” If the filmmakers thought it too obvious, then how do you explain everything else in the movie?


Official movie site: www.thingswelostinthefire.com

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