X-Men: First Class A Lively Orientation Session.

X-Men: First Class

As the old saying goes, if at first you do not succeed, try and try again. In many ways this perfectly encapsulates the X-men film franchise. Of the three previous X-men films, and the Wolverine spinoff, only X2 truly captured the essence of the comics on screen. The original X-men played it too safe while the third film, X-Men: Last Stand, cared more about its special effects that of its plot. As for X-men Origins: Wolverine, well the less said about that debacle the better. As a result my expectations were lowered significantly going into the latest reboot X-Men: First Class.

Set against the backdrop of the Cuban missile crisis, X-Men: First Class highlights the events that first brought Charles “Professor X” Xavier (James McAvoy) and Erik “Magneto” Lensherr (Michael Fassbender) together. Shortly after receiving his doctorate, Charles Xavier and his companion Raven (Jennifer Lawrence) are recruited by CIA agent Moira MacTaggert (Rose Byrne) to assist in tracking down Sebastian Shaw (Kevin Bacon). Leader of a group of mutants known has the Hellfire Club, Shaw plans to bring the United States and Russia to war for his own personal gain. While pursuing Shaw, Xavier meets Lensherr who is hunting Shaw to settle an old score. Joining force the two men, along with a team of young mutants, attempt to stop Shaw before he starts another World War.

In many ways X-Men: First Class is best viewed as its own separate entity. The film tries too hard to align itself with the narratives of the X-men films that came before it. This however is a mistake as the continuity errors become apparent the more they reference the other films. However X-Men: First Class is a film that does not need to acknowledge its legacy as it has its own unique voice. Director Matthew Vaughn creates a film that is smartly reinvents the mythology of the X-men while keeping the lighter tone found in the comics.

What makes this film work so well is the strong performances by both Michael Fassbender and James McAvoy. Although the X-men have always been team based, the story would have still worked if the film featured only Xavier and Lensherr. These two characters are the most interesting aspect of the film. McAvoy may not carry the same commanding presence that Patrick Stewart did in the other films, but he does manage to make the character of Xavier exciting again. The way he conveys Xavier’s struggle between his ideology that mutants and humans can co-exist and his desire to fight side by side with Lensherr comes across well in the film. Fassbender in particular does a fantastic job of providing his own unique take on Lensherr. Bringing a mixture of compassion and coldblooded rage to the role, Fassbender walks the thin line between good and evil displays why Magneto is one of the more compelling villains in the Marvel universe.

The rest of the cast is hit or miss at the best of times. Kevin Bacon continues to have fun in the villain roles he has been taking of late and Jennifer Lawrence does the best she can with the limited script given to Raven. Although the Raven/Hank McCoy (Nicholas Hoult) subplot was interesting, the triangle between Xavier/Raven/Lensherr did not carry the punch it should have. Similar to the comics, the problem with most X-men films is that there are more characters than there is enough time to truly develop them. January Jones’ Emma Frost is not given much to do besides look pretty, and henchmen like Riptide and Azazel join the long list of quickly forgotten characters.

Still, as far as comic book inspired films go, X-Men: First Class manages to make the X-men entertaining and relevant again. Vaughn offers up several exciting action sequences that are designed to highlight each character’s mutant ability. Plus, the overall story works well and actually generates interest in seeing these characters again in a sequel. Is X-Men: First Class better than X2? Not quite. However this is a film that soars when the previous films are ignored.

Movie Marketing Monday

X-Men: First Class

X2 was the only film that I actually like in this franchise. The one thing that has my interest about this reboot is the casting of James McAvoy as Professor Xavier and Michael Fassbender as Magneto.




Jane Eyre

Fassbender pops up again in this star-studded film. While I enjoy the Jane Eyre story, I wonder if there will ever be a big screen remake of Wide Sargasso Sea?

TADFF Review: Centurion

Centurion

Set in Britain in AD 117, The Roman Empire is at war with savages known as Picts. The Picts refuse to submit to Roman rule, and plan to destroy any Roman that crosses their path. Quintus Dias (Michael Fassbender), the sole survivor of a Picts’ raid on a Roman frontier fort, finds himself leading a small group Ninth Legion soldiers. The Ninth Legion was once a fearsome band of Roman soldiers until they were ambushed by the Picts. After their general (Dominic West) was captured, and the majority of the men slaughter, Dias was entrusted with the task of leading and six remaining Ninth Legion soldiers home. Yet their quest home is riddled with danger as the Picts’ leader, Gorlacon (Ulrich Thomsen), has made it his personal mission to hunt down the remaining members of the Ninth Legion at all cost. Dias and his band of soldiers must navigate through unfamiliar terrain, and evade the Picts’ expert tracker Etain (Olga Kurylenko), in order to reach Roman soil before it is too late.

Normally a film with this much blood and carnage would hold my interest on the most basic, and primal, level. Unfortunately the relentless amount of decapitations was not enough to keep my eyelids from closing down a few times throughout Centurion. Now I am fully aware that the unusually large amount of softball that I have played in the last couple of days may have factored into my weary state. Yet Centurion, of all the films at the Toronto After Dark Film Festival, should have been the jolt of adrenaline that my body needed. Sadly, the repetitive nature of the film only added to the dullness of the overall production. The film pretty much follows the same formula throughout: The Romans talk a big game, get their asses handed to them by the Picts, then run into the woods looking for a safe place to hide. Add in some beautiful scenery and that is pretty much the film in a nutshell,

Centurion was high on my “to see list” as it stars Michael Fassbender and was directed by Neil Marshall. After his brilliant work in films such as Hunger and Fish Tank (my review to come soon), not to mention his role in Inglourious Basterds, Michel Fassbender is quickly becoming one of my favourite actors. He brings so much vigor to every role he plays. Fassbender’s talents are wasted in this film. He is not giving much to work with at all as Neil Marshall spends more time on the action scenes than he does crafting a solid plot. Although Marshall’s previous films Dog Soldiers and Doomsday were entertaining, neither really showcased his talents fully the way The Descent did. I was hoping that Centurion would be Marshall’s best film yet but it ended up being his weakest one to date. The only thing I will say in Neil Marshall’s favour is that he always incorporates strong female characters into his film. Olga Kurylenko, who you may remember from Quantum of Solace, is the real bright spot of the film. Not only is she a fearsome warrior but she is also one of the few characters who actually has an interesting back-story. Granted, her life is summarized in two or three lines but at least it is something. Most of the other characters are rather indistinguishable from each other.

Since the bloody action is always at the forefront, Marshall never provides enough character development to bring any depth to all the carnage. At the beginning the Romans are portrayed as good and the Picts are viewed as bad…but is really the case? Both sides have committed great sins against each other. As the film goes on, it becomes increasingly tough to care for either side. Centurion tries hard to follow in the footsteps of the many sword and sandal films that came before it. Yet, at the end of the day, Centurion is nothing more than a mindless action film that is fairly easy to fall asleep to.

Grade: D

Toronto is a Bloody Good Time After Dark

Although TIFF (aka. The Toronto International Film Festival) offered a glimpse into some of the big films they will be showing this September, I would like to highlight another festival announcement that came out this week. The Toronto After Dark Film Festival unveiled its full lineup of cult-tastic films yesterday. Running from August 13 -20, Toronto After Dark features a wide array of over-the-top comedies, blood curdling horror, genre mashing science fiction and all things in between. I recently became aware of the festival thanks to James at Toronto Screen Shots and Bob of Eternal Sunshine of the Logical Mind. While at this month's Toronto Bloggers Pub Night, they were both sharing their experiences at the last year’s festival. I was officially sold on the idea of checking it out this year once I heard a few simple words: “they screened Black Dynamite last year!” That was all I needed to hear to grasp what type of films the festival would be showing. After scanning the complete list of films, this year’s festival seems to be even crazier than I could have ever anticipated. If descriptions like “Killer Tire Horror”, “Cult Stoner Comedy (staring Adrian Brody)”, “Brutal Roman Action”, do not scream cult goodness then maybe some of the following trailers below will get your cult juices going:

Please note some of the following trailers contain strong language and graphic violence.

High School



Rubber



Centurion



Doghouse



Robogeshia



Human Centipede




The full list of Toronto After Dark films, and ticket info, can be found on the festival's website.

Hunger Can Be Quite Filling

The Full List of Big Thoughts From A Small Mind's 2009 Reviews.

Hunger

There have been many predictions regarding who the Oscar nominees will be this year. Yet the one thing that is usually left out of these discussions is timing. In a year in where the Academy Awards have expanded the Best Picture category to allow ten films, one of the best films of 2009 is not even eligible to compete. Although Steve McQueen's stunning debut, Hunger, hit most theatres this year it actually was eligible for Oscar consideration last year. If Hunger had been able to compete this year I am sure more people would be singing its praises. Similar to The Hurt Locker, I think Hunger would have benefitted greatly from the new Oscar rules; and what seems to be a weaker competition pool in general this year.

Set in Belfast's infamous Maze prison in 1981, Hunger looks at the events leading up to IRA hunger strike led by Bobby Sands (Michael Fassbender). The interesting thing about this tale is that Bobby Sands only really factors into the third act of the film. The first part focuses on a prison guard (Stuart Graham) whose work has scarred him emotionally beyond repair. In the second section we see what has caused the prison guard all the mental distress. McQueen shows us two inmates (Brian Milligan and Liam McMahon) who endure hell while participating in a IRA prisoners' protest wear they refuse to wear prison clothes and bathe. The IRA prisoners do not see themselves as criminals and want to get political prisoners' status from the British Government. The protest results in a volatile and violent standoff against the prison guards. The remainder of the film focuses on why Bobby Sands was willing to make the ultimate sacrifice for the cause.

Hunger is a bleak and unrelenting film that will probably drive many viewers mad with its unconventionality. Why should you see it then? Despite its harsh realistic moments, it is an immensely rewarding picture. Hunger is a brilliant piece of filmmaking that not only renews your faith in the future of cinema, but also challenges you ever step of the way. This film raises many questions and shows you both sides of the tale. Yet do not expect any simple answers, this is a film where the viewer must ultimately come up with their own conclusion and the choice is far from easy.

On one hand you must reflect on the war outside the prison before you can look at the one waging within it. Regardless of the events which led to the birth of the Irish Republic Army, the group, during was considered by many to be a terrorist organization. McQueen provides a glimpse of their ruthlessness in a chilling scene at a nursing home. On the other hand, does this justify the harsh treatment that the men had to endure in prison? Does Prime Minister Margaret Thatcher’s final decision actually mean that the men, though misguided in their methods, were actually fighting for a proper cause on the outside?

The events in Hunger exist completely in a grey area where actions, no matter how horrible, can be justified for and argued against by both sides equally. The only real commentary that McQueen will divulge is that the whole conflict impacted both sides on a deep emotional level. The fact that neither the government/guards nor the IRA prisoners wanted to back down only made the emotional wounds that much deeper.

Hunger may be Steve McQueen's first film but it is far more accomplished than some of the veteran directors working today. This is a film that will resonate with you for a long while. McQueen is able to get extraordinary performances from his cast. One of my favourite scenes in the whole movie is the twenty minute conversation between Sands and a priest (Liam Cunningham). There is so much going on in this scene, from both an acting and story standpoint, that it take multiple viewings for all the subtle elements to come fully into view. Michael Fassbender, who was also good in Quentin Tarantino's Inglourious Basterds, gives a phenomenal performance as Sands. We have seen many actors gain and lose weight for a role but few have given a performance so powerful that you actually forget you are watching an actor.

Hunger is a film that will make you angry, gross you out at times, and ultimately make you sad for all the parties involved. Yet it is a film that you must see for the sheer magnitude and brilliance of it all. Hunger is hands down one of the best films of the year.