Mud

X-Men: Apocalypse

X-Men are among my favorite movie superheroes and always have been. I’ve loved every edition in the series, with the exception of X-Men 2. Director Bryan Singer (The Usual Suspects, X-Men: Days of Future Past) has infused the franchise with fresh energy by adopting a sort of prequel format established in the last two or three movies. By introducing us to a younger Magneto, Mystique, Xavier, and company, Singer cleverly extends the life of the franchise. The only constant character is the perennial Wolverine (Hugh Jackman, Eddie the Eagle). Boasting additional new young iterations of our favorite characters, X-Men: Apocalypse did not disappoint.

The movie begins in ancient times, as the Egyptians engage in religious ritual. Their apparent ruler is a strange behemoth with purplish, leathery skin called En Sabah Nur (Oscar Isaac, Ex Machina). He will eventually come to be known as Apocalypse, and his existence proves mutants were around long before Professor X (James McAvoy, X:Men: Days of Future Past) became aware of them. Apocalypse and his followers attempt a supernatural energy exchange with another person, which is disrupted by dissidents seeking to overthrow his regime. Apocalypse is buried alive, left undisturbed until the Egyptian ground shifts and he is awakened thousands of years later in 1983.

After his epic snooze, Apocalypse awakens to a world dominated by humans. He doesn’t like mutants’ stature and seeks to upset the proverbial apple cart by encouraging them to take their rightful place atop the food chain. He quickly assembles a team, including (a much younger) Storm (Alexandra Shipp, Straight Outta Compton), Magneto (Michael Fassbender, Steve Jobs), and newcomers Angel and Psylocke (Olivia Munn, Zoolander 2). Religious themes ran throughout the movie, with Apocalypse displaying god-like abilities as he actually makes his team of mutants better. He enhances their powers and shows them how to maximize their gifts. For example, we know Magneto controls metal objects. If there’s no metal readily available, one might think he’d be powerless in that moment. However, there are metals and minerals in the ground. Magneto can literally move mountains if he wanted.

Professor X learns of Apocalypse, whose powers are nearly insurmountable. Meanwhile, enrollment at Xavier’s School For Gifted Youngsters increases as Scott Summers/Cyclops (Tye Sheridan, Mud) joins the fray. It was fascinating to see younger versions of the familiar characters we’ve come to know and love. It was particularly cool to see the first meeting between Cyclops and Jean (Sophie Turner, Game of Thrones), who will go on to have quite a love affair, albeit an intermittently one-sided one. I also enjoyed the barrage of 80’s pop culture references, from Thriller jackets to Tab soda. The film establishes the clear ideological dichotomy between mutants that runs throughout (chronologically) later films. Xavier is a pacifist almost to a fault, recognizing the importance of educating his students in a classroom, but leaving them woefully unprepared for battle and unequipped for self-defense. Apocalypse forces him to open his mind to a new approach, turning the tables on the benevolent professor and setting the stage for a showdown between good and evil.

A summer day at the movies should be entertaining, action-packed, and fun. With spot-on casting and a strong yet simple plot, X-Men: Apocalypse was all that and much more. I can’t wait to see what Marvel Studios has in store for us next. Grade: A-

 

 

August: Osage County

The family unit is a societal and cultural structure ingrained in most of our lives.  Every family has its quirks, and every family deals with both tragedy and triumph.  Families endure everything from illness and death to incarceration and addiction.  It’s the love and the loss that makes the world go ‘round, and no family is immune from heartache or difficulty.  Moreover, there are common threads found in every family, regardless of class or culture.

For example, even though we love our mothers to death, most people can agree that there are times when you simply want to say,  “Shut up Ma!”  You’d never say it, but mothers have a knack for speaking their minds unabashedly – much to the chagrin of their children.  But we can’t choose our family, and most of us love our relatives for better or worse.  In August: Osage County, director John Wells (The Company Men) explores familial themes through the relationships and trials of the Weston family, a dysfunctional Midwestern clan.

Beverly (Sam Shepard, Mud) and Violet Weston (Meryl Streep, The Iron Lady) are parents to three adult children, though the family unit hasn’t been intact since the girls came of age.  Beverly is a functioning alcoholic, and Violet is a pill-addicted shrew.  She is suffering with Cancer, but her sharp tongue tempers any sympathy.  The eldest daughters Barbara (Julia Roberts, Mirror Mirror) and Karen (Juliette Lewis, Due Date) moved away and haven’t looked back, while youngest daughter Ivy (Julianne Nicholson) remained behind as caretaker.  The opening scene is jarring, with Streep diving headfirst into the role.  It’s so bad it’s good – her character is suffering and it’s uncomfortable to watch, but Streep’s performances always seem like a master class.

When a shocking tragedy reunites everyone, curious family dynamics are revealed.  There’s sibling rivalry, buried secrets, infidelity, sexual taboos – you name it.  It might sound salacious and melodramatic, but realism permeated the film.  The characters’ problems were real, not contrived.  I could relate to the daughters’ frustrations as their mother offered well intentioned but unsolicited advice that went far beyond the pale.

I’ve been making the effort to see most of the Oscar nominees, and August: Osage County has two nominations for Best Actress (Streep) and Best Supporting Actress (Roberts).  The veterans didn’t mail it in here, and I’m sure they are in strong contention in their respective categories.  The entire cast delivered, with Benedict Cumberbatch (The Fifth Estate) and Margo Martindale turning in surprisingly honest performances.  This is the type of movie that doesn’t rely on gimmicks, but strength of script and the dramatic talents of a laudable cast.  I was most struck by the film’s sense of truthfulness.  I almost felt like a fly on the wall, and the realism underscored the film’s effectiveness.  My only minor complaint is that the setting felt static, with most of the movie happening in one environment.  But I’m nitpicking.  Bottom line: an understated but memorable film with strong performances from seasoned veterans and supporting cast alike.  Grade: B+

Man of Steel

As other superhero franchises have recently established themselves as powerhouses (Batman, Iron Man), the venerable Superman franchise seemed like an afterthought.  Brandon Routh is somewhere salty as hell.  You’re probably like, who the hell is that?  Exactly.  Routh wore those famous blue tights only once in 2006’s Superman Returns, and now he’s a distant memory.  It seemed like Superman was lost in the iconic days of Christopher Reeve…until now.

Once Christopher Nolan (The Dark Knight Rises) was attached to the project, I think people were amenable to giving it a chance.  Just conjuring images of The Dark Knight franchise gets me excited, and Nolan brought instant credibility to the film.  The addition of director Zac Snyder (300, Sucker Punch) also ensured a fresh departure from the last Superman attempt.  The movie begins on Krypton, with a frantic Lara and Jor-El (Russell Crowe, Broken City) facing the destruction of their planet.  General Zod (Michael Shannon, Mud) has attempted an unsuccessful coup and been subsequently banished to an intergalactic prison.  Krypton and its inhabitants will become extinct as the planet comes to a tumultuous, destructive end.  Anticipating such an apocalypse, Jor-El and Lara planned to send their newborn Kal-El to another planet where he will thrive and ensure the survival of his race.

As the familiar story goes, Kal is given the name Clark and raised by the Kents – the couple who discovered him (and the vessel that brought him) on their farm.  However, after leaving Krypton the movie shifts to Clark’s adult life, as he grapples with finding his place on Earth, given his otherworldly abilities.  Nolan’s influence was apparent, as he offered a non-linear approach to Clark’s story.  Instead of following his upbringing chronologically, the movie flashes back to key events in Clark’s childhood that shaped his current existence.  We’re introduced to him as an adult, a nomadic laborer of sorts who lives in relative obscurity.  Clark consistently struggled with the two distinct messages given to him by both fathers.  Jor-El believed that he was special and could be a symbol of hope to many people.  Conversely Jonathan Kent (Kevin Costner, The Company Men) cautioned his son that people will fear what they don’t understand, and that mankind would reject him.

When General Zod is released from his interstellar prison, he locates Kal on Earth and pursues him there, spelling dire consequences for humanity.  This new development is what forces Clark into action, causing him to confront his obligation, if he even has one.  I’ve purposefully omitted a lot of plot details, because I don’t want to spoil the movie for you, plus I think they are inconsequential to my discussion of the film.  There was an earnest quality to the film, though not quite as dark as the Batman movies for which Nolan is known.  This subtle restraint in storytelling made the interpretation unique, and I can say that Man of Steel was not like The Dark Knight or any of the Iron Man movies.  Whereas Batman seems affected by external forces, Superman’s struggle is largely an internal one – at least in this first edition of the reboot.  The structure of the movie was flawless, and the viewer feels as if he or she really understands Clark’s conflicting duality – revelation vs. obscurity.  Couple that with a lifelong feeling of being the only one of your kind, and it’s easy to see why Clark felt confused and alone.

In addition to the storyline and character development, I thought the casting was also effective.  Henry Cavill (Immortals) is perfect as the new Superman.  He looks the part and he is believable.  Those are big tights to fill, and I’m sure the role is his for a while to come, especially since Man of Steel 2 has already been announced.  The casting of Amy Adams (Trouble With the Curve) as a more intrepid Lois Lane was also successful.  Russell Crowe is incomparable; you already know this.  What more can I say?  The movie was nearly flawless.  In fact, the only criticism I have is minor and probably misplaced.  I’m no expert, but I had a small quibble with the editing.  I thought a few scene transitions were not seamless – but again, what do I know?  The special effects were incredible, and no self-respecting movie buff would go more than a week or two without seeing this movie.  What are you waiting for? Grade: A