Rewind & Reboot: X-Men Origins: Wolverine

X-Men Origins Wolverine movie poster

 

Much of what’s wrong with X-Men Origins: Wolverine can be traced right back to its confused conception, indeed beginning with its clumsy title. The ungainly prefix is clumsily bolted on solely for it to alphabetize adjacent to the three previous X-Men films on Walmart shelves, iTunes, Pay-Per-View, and torrent trackers. The two halves split by a colon try to have it both ways: “X-Men Origins” brands it as part of a proposed series of prequels to the lucrative original trilogy (none else of which have yet to materialize, apparently discarded in favor of the complete reboot X-Men: First Class), while “Wolverine” promises a fresh new franchise in and of itself.

With the original trilogy still warm in its grave, barely a decade after it began, why rewind and start over again so soon? There’s no reason why a prequel featuring honest-to-goodness movie star Hugh Jackman as the fan-favorite icon couldn’t have stood on its own. One gets the feeling X-Men and X2: X-Men United were prematurely discarded. All of this is quite the pity, as director Bryan Singer’s interpretation was far superior than this and Brett Ratner’s weak X-Men 3: The Last Stand.

I can understand the desire to create a jumping-on point for new viewers, one that does not require a detailed memory of the events of the previous installments. But if what 20th Century Fox and Marvel Comics sought was a fresh start, this isn’t exactly it. The narrative contorts itself to slot into some of the established chronology, while simultaneously ignoring or contradicting many other significant elements of the canon.

Liev Schreiber and Hugh Jackman in X-Men Origins: WolverineSabretooth and Wolverine demonstrate the proper protocol in executing a man hug

Danny Houston portrays a younger version of William Stryker, a role originated by Brian Cox in X2: X-Men United. We learn a little more of his villainous motivations and ties to Wolverine’s secret origin, none of which really surprise or illuminate. Fans might be pleased by superfluous cameos by a younger Cyclops (Tim Pocock) and Professor X (a digitally rejuvenated Patrick Stewart). Then there’s the matter of Sabretooth, whom we already met as Magneto’s henchman (Tyler Mane) in the original X-Men (2000), but now entirely recast and reconceived as Logan’s brother Victor Creed (Liev Schreiber).

A prologue set in Canada’s Northwest Territories in the mid 1800s reveals Logan’s damaged psychology to be the product of fratricide. He and brother Victor were doted upon by a wealthy adoptive father, but their superstitious biological father wanted to kill them. The best sequence immediately follows: an impressive montage of the brothers fighting side-by-side through the Revolutionary War, Civil War, World Wars I and II, and Vietnam. The wordless sequence succinctly illustrates the immortal warriors growing apart, as Victor becomes increasingly unstable while Logan slowly develops a moral code and distaste for killing.

A Wolverine film seemed like a promising idea when I first heard of it; it could have provided a neat way to shake off the detritus that had accumulated by the end of the original trilogy. Each subsequent installment added too many additional characters drawn from decades of Marvel Comics history, and quickly snowballed to the point where the ensemble cast became comically unwieldy (pun intended). So, the notion of a fresh story focused around just one character sounded like a wise choice. But expecting a smart creative choice from 20th Century Fox was obviously too much. X-Men Origins: Wolverine is overstuffed with a tremendous number of X-Men b-listers, including The Blob (Kevin Durand), Deadpool (Ryan Reynolds), Gambit (Taylor Kitsch), The White Queen (Tahyna Tozzi), and Bolt (Dominic Monaghan). The latter, incidentally, features in one of the best scenes in the film, in a low-key confrontation with Victor that approaches real drama.

Taylor Kitsch, will.i.am, Liev Schreiber, Hugh Jackman, Tim Pocock, Ryan Reynolds, and Lynn Collins in X-Men Origins: WolverineThe Amazing Adventures of the Uncanny C-List Characters, coming soon from Marvel Comics

Worse than the proliferation of supporting characters is its menagerie of villains. Like Spider-Man 3, the film features a muddled array of enemies when just one well-developed villain would have suited the story better. At least three mortal nemeses align themselves against our hero here: Stryker, Sabretooth, and Weapon XI. The best, most iconic comic book villains are flamboyant characters intricately tied in with the origins of the hero: Batman vs. The Joker (Jack Nicholson, Heath Ledger), Spider-Man vs. The Green Goblin (Willem Dafoe), and Superman vs. Lex Luthor (Gene Hackman, Kevin Spacey). But Wolverine’s most serious foe here is the literally mute and expressionless Weapon XI, devoid of character or charisma. Worse, his moniker looks much better in print than spoken aloud; “Weapon Eleven” doesn’t quite roll off the tongue.

X-Men Origins: Wolverine is directed by Gavin Hood, of the critically respected film Tsotsi, making it unusually finely pedigreed for an escapist piece of entertainment based on kids’ comic books. Marvel Comics seems not to have learned its lesson from handing Hulk to Ang Lee and Thor to Kenneth Branagh. A good case study for Fox and Marvel would have been Warner Bros.’ disastrous Invasion, from Oliver Hirschbiegel, director of Downfall. Both Invasion and X-Men Origins: Wolverine are somehow fatally broken, to the point where they fail to make rudimentary sense (which ought to be a base requirement for popcorn special-effects-driven blockbusters). Is it too much to ask that films like this at least be internally logical?

Stryker’s scheme simply doesn’t add up. What exactly does he intend to do? Stryker is evidently dissatisfied with his creation Weapon X (who escaped and became Wolverine). After what he perceives as a failed beta test, Stryker moves on to Weapon XI, an ostensibly perfect soldier with superpowers extracted from other mutants. So why does he go to extreme lengths to keep Wolverine under observation by a fake girlfriend (Lynn Collins) for several years, when all he has to do is kill him and extract his powers with his super-syringe? Even more puzzling, if Stryker wants Logan dead, why does he trick him into signing up to become Weapon X? Stryker succeeds only in making an already near-indestructible man even more so.

Tahyna Tozzi and Lynn Collins in X-Men Origins: WolverineThe White Queen and Silverfox look worried as they dash through some corridor or something, whatever, who am I kidding — Tahyna Tozzi and Lynn Collins are just in this movie to titillate the fanboys

The problem with comic book superhero stories is that there’s a point at which your powerful protagonist becomes literally inhuman, and thus difficult to find sympathetic or relatable. The best example is Superman, literally an alien who can do almost anything. What kinds of problems would such a creature have, and how can any viewer relate to him? Here, Logan and his nemesis Victor are both effectively immortal, so there is little at stake in their conflict. The most interesting comic book superheroes must reconcile superhuman powers with their deep flaws and anxieties, like Spider-Man’s insecurities and Daredevil’s disability, or are normal human beings with extraordinary drive, like Batman and Iron Man.

A pirated version of X-Men Origins: Wolverine infamously leaked online before its official theatrical release. It was roundly panned, and Fox attempted damage control by claiming it was an unfinished workprint with placeholder CGI, sound effects, and titles. According to the Los Angeles Times, the version finally released in theaters was reportedly almost identical, an embarrassment to say the least.

The special effects are rather shoddy, especially compared to the state of the art as seen in its contemporaries Star Trek and Transformers 2: Revenge of the Fallen. Wolverine’s claws and Sabretooth’s bounding and pouncing suffer especially from unconvincing cheapness. The only two genuinely impressive exceptions were wasted, to showcase supporting character Cyclops’ laser eye-beams slicing large structures into geometric chunks.

Stray Observations:

  • Two easter egg codas follow the credits. One is totally unnecessary (Stryker’s fate is better left to the imagination), but the other is enjoyably campy, with a kind of sick humor that could have enlivened the rest of the film.
  • The DVD features an anti-smoking Public Service Announcement, no doubt penance for Logan’s signature cigar-chomping. But where are the warnings against drinking alcohol, riding motorcycles without helmets, killing people with blades, and performing unethical medical atrocities?
  • The script is a nonstop barrage of clich├ęs: if I had subtracted one star for every time somebody utters “Let’s do this” or “Look what the cat dragged in,” my rating would be, well, a lot of negative stars.

Official movie site: www.x-menorigins.com

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A Tall Tale: Taking Woodstock

Taking Woodstock movie poster

 

Ang Lee’s Taking Woodstock is based on Elliot Tiber’s memoir Taking Woodstock: A True Story of a Riot, a Concert, and a Life, that purports to be the untold story of how the Woodstock music festival came to Bethel, NY, in August 1969. Tiber claims he was the crucial go-between that introduced the festival’s organizers to Max Yasgur, owner of the farm that became the site of the famous three days of music, peace, love, mud, brown acid, and traffic jams.

Even if only a portion of Elliot’s tall tale is true, it’s incredible that it has not been dramatized before now. In his version of events, an ordinary, meek kid becomes the accidental midwife of one of the biggest cultural events in modern history. Mix in most of the hot-button issues of the time — the hippie vs. square culture clash, gay awakening, anti-semitism, the mafia, and fallout from the Korean and Vietnam Wars — and you end up with what should have been a richly definitive movie dealing with the era.

Demetri Martin and Paul Dano in Taking WoodstockTripping the light fantastic in the magic bus

That Tiber’s account of the festival is vigorously disputed by almost everyone involved (and sober enough to recall events now) is beside the point. The story is a good one, but the film never seems to capture the joy, anxiety, or excitement of the moment. So what if it isn’t true? We already have a supposedly objective documentary on the festival (but more on that below).

The biggest problem is Demetri Martin, who despite his success as a comedian and contributor to The Daily Show, possesses approximately as much star charisma as a plank. To be fair, his character is written to be repressed and buttoned-up, but the kid remains boring even after what ought to have been a transformative number of enlightening experiences, including his first gay kiss, first acid trip, and betrayal by his mother. Emile Hirsch appears in a small role as a psychologically scarred vet, and clearly would have been better in the lead role. Even Elliot’s parents are both more compelling characters than he. His father’s (Henry Goodman) interactions with the burgeoning counterculture awaken him from the virtual coma his life had become, and his mother (Imelda Staunton) is a self-destructive hoarder, which the film links to Holocaust survivor’s guilt.

Demetri Martin and Liev Schreiber in Taking WoodstockThat’s a man, baby!

Lee’s visuals are fairly straightforward, making it rather jarring when split-screen sequences visually allude to Michael Wedleigh’s documentary Woodstock (1970). Taking Woodstock supports Wedleigh’s thesis that the mostly harmless hippies that sought a weekend of peace and music instead found hostile locals and a combative, condescending press. But other moments in Taking Woodstock serve to undercut the original documentary, such as when Wedleigh is seen coaching a trio of nuns to flash the peace sign. If that iconic image was staged, what else might have been false or exaggerated? Taking Woodstock may be a tall tale, but it also makes clear that Wedleigh’s film isn’t necessarily reliable either.

Taking Woodstock ends with organizer Michael Lang (Jonathan Groff) about to mount another free concert featuring the Rolling Stones. The Woodstock festival may have been chaotic, but it was successful insofar that it proved people could gather in massive numbers and celebrate positively and peacefully. Lang is energized by what he achieved, but the mood is not so optimistic for those of us that know how it all turned out. The chaos and murder of the Altamount debacle that marked the end of the Summer of Love would be documented by The Maysles Brothers in Gimme Shelter (read Matthew Dessem’s excellent take on the film at The Criterion Contraption).

Demetri Martin in Taking WoodstockOne of the most famous traffic jams in history

Just as Taking Woodstock never quite takes off, Elliot never actually makes it to the concert. The fact that we never see it, and barely even hear it, is part of the point. Many of the 400,000 attendees probably never got any closer, either. And even those that did may have been too altered to recall much.

Random observations:

  • There are puzzling hints that Lang’s assistant Tisha (Mamie Gummer, Meryl Streep’s daughter) is significant, but her character is ultimately superfluous. The role is not significant enough to match the notable casting.
  • Like contemporaries Michael Winterbottom and Danny Boyle, Ang Lee seems determined to never make the same film twice. Seen in that light, Taking Woodstock is a refreshing break in tone from his grim, thoroughly nonerotic Lust, Caution.
  • Further, it’s also worth noting that Eliot’s homosexual awakening is much more successful and fulfilling than that of the tortured cowboys in Brokeback Mountain.

Official movie site: www.takingwoodstockthemovie.com

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