The following is a review of the new film Locke, and may contain spoilers in regards to the film. If you have not seen Locke, and are planning to (which I really, really, really recommend), then I suggest that you close this browser and move along. If, you have no intention of seeing it (what is wrong with you?), or don't mind if a movie is spoiled for you, then by all means, carry on... but you have been warned!
**********SPOILER ALERT!!!!!**********
This past weekend, my original plan was to see the new releases, Maleficent and A Million Ways To Die In The West. Thanks to the guys over at Schmoes Know, I avoided that catastrophe and instead chose to see a couple of indie flicks that sounded interesting to me. The first was The Grand Seduction (you can find my review of the Canadian charmer below this one) and the second was the new Tom Hardy flick, Locke.
First off, let's start this by saying that Tom Hardy is a beast. He has such a commanding screen presence that you just can't look away, and don't ever want to. I remember reading a review for the movie Lawless, that starred Hardy and Shia LeBeouf, in Entertainment Weekly, I think, and it always stuck with me in regards to Tom Hardy. In the review the author said, that while LeBeouf was trying very hard to be that tough, commanding presence, Hardy just showed us and was. He just was... and I couldn't agree more.
Locke tells the story of Ivan Locke, a construction foreman who's life is irrevocably changed in the hour and a half or so hours it takes him to drive in to London. Turns out, that, earlier in the year, he had an affair with a woman, a one night stand, and she's about to give birth to their child. He cancels the plans that he had with his family and leaves the most important job of his career, in order to be there for the birth of his child. As someone who was abandoned by his father at a young age, he refuses to not be there for this new child, even though it was conceived through a mistake of epic proportions. The film consists entirely of Tom Hardy in a car, driving towards London, as he manages phone call after phone call, in an attempt to keep everything in his life on track and prevent everything from crumbling around him. In the course of an hour and a half, he loses his job, keeps the concrete pour planned for the morning on track, admits his infidelity, talks to his dead father, calms down the hysterical mother of his unborn child, probably, irreparably damages his relationship with his wife, discusses a soccer match with and tries to reassure his sons, cries and hears his new baby cry for the first time. It's a roller coaster ride that keeps you enthralled through it's entirety.
Did I mention that Tom Hardy is a beast? Because he is. He's absolutely mesmerizing in the role, and he has to be, as he's the only one on screen for the entirety of the film. Ivan Locke is a very even, collected person, especially in his business dealings, and Hardy is great at being calm, but assertive, brooking no argument, with nothing more than the tone of his voice. There are an couple of instances in the film where his emotions threaten to over take him and his eyes well with tears, but you watch in awe as he pulls it back, once again stoic in the face of adversity. When he finally does let the tears fall, as he's talking to his wife and son, it's all the more poignant, because it shows just how deeply emotional he is about what he has done and the path that it's led him on. It's an incredible performance, and while I'm afraid that it's been released too early and too under the radar, it definitely deserves consideration come awards season. (but, like the tour-de-force performance of Ryan Reynolds in Buried, I'm sure that it will be overlooked).
Tom Hardy is quickly becoming one of my favourite performers. He has been choosing interesting, diverse projects, and has been knocking it out of the park with every one that's released. His range and ability to become the character that he is playing is unbelievable, and I look forward to seeing what he has in store for us in the future. But in the meantime, definitely check out Locke.
Tuesday, 3 June 2014
Monday, 2 June 2014
Review: You Can Seduce Me Anytime...
The following is a spoiler review of the film The Grand Seduction. If you have not seen the film and are planning on it, I suggest that you turn back now, as later it will be too late. If you don't really care if you're spoiled, then please, by all means continue...
**********SPOILER ALERT!!!!!**********
Being a proud Canadian, it is with a heavy heart that I claim that our history of cinema is very hit or miss. There are some really great Canadian movies out there, like Men With Brooms, Eastern Promises and The Sweet Hereafter. But, there have also been some real stinkers, (I once saw an atrocious production of Beowulf) and let's face it, we're not really known for our outstanding cinematic achievements. Sure, there are a lot of top notch directors out there that hail from Canada, like Ivan Reitman and James Cameron, but the films that they make are usually big Hollywood studio productions.
But, every once in a while, something special comes along. The Grand Seduction is one such film. Set in the small harbour of Tickle Cove, Newfoundland, we find out that it is dying, it's 115 or so residents forced to collect welfare after the fishing dries up. They are attempting to lure a large petro-chemical company to build a factory in their area, but need a doctor in residence, before their bid will even be considered. Enter Dr. Paul Lewis, played by Canadian actor, Taylor Kitsch. Blackmailed into spending one month in the harbour, the residents then proceed to "seduce" the doctor into staying, using everything from cricket (the doctors favourite sport), to guilt (they spread a rumour that the only person who could patch them up was the old butcher and faked huge, nasty scars as proof of his incompetence), to finding money where you least expect it (there's a running gag about that that continues throughout the film).
Although the plot is quite predictable, the story and residents of Tickle Harbour are extremely charming and likeable, and completely draw you in. I am a big fan of Taylor Kitsch, and think that he's a really good actor who has just, for one reason or another, chosen the wrong projects or been involved with projects that have been handled poorly by the studio (I'm looking at you John Carter!). He is well cast here, and he appears to be having a ball in this small, Canadian indie. The jokes are humorous and plentiful and I found myself laughing out loud on a number of occasions. There is the predictable love interest, as well as the extremely common, "the truth comes out" confrontation at the end, and of course, everything was wrapped up in a neat little bow by the time the end credits began to roll, but I found that I didn't mind these predictable tropes, as the overall charm of the movie was more than enough to satisfy.
While I wouldn't call this the greatest movie that I have seen this year, I would definitely recommend it. It's a heartwarming and charming tale that embraces you like a warm hug. If you are in Canada, I would definitely recommend that you check it out. If you aren't, well, I'm sure that eventually it will either roll around to on-demand or, eventually, Netflix. Just keep your eyes open for it. It's a lovely little piece of Canadiana that I'm sure you'll enjoy.
**********SPOILER ALERT!!!!!**********
Being a proud Canadian, it is with a heavy heart that I claim that our history of cinema is very hit or miss. There are some really great Canadian movies out there, like Men With Brooms, Eastern Promises and The Sweet Hereafter. But, there have also been some real stinkers, (I once saw an atrocious production of Beowulf) and let's face it, we're not really known for our outstanding cinematic achievements. Sure, there are a lot of top notch directors out there that hail from Canada, like Ivan Reitman and James Cameron, but the films that they make are usually big Hollywood studio productions.
But, every once in a while, something special comes along. The Grand Seduction is one such film. Set in the small harbour of Tickle Cove, Newfoundland, we find out that it is dying, it's 115 or so residents forced to collect welfare after the fishing dries up. They are attempting to lure a large petro-chemical company to build a factory in their area, but need a doctor in residence, before their bid will even be considered. Enter Dr. Paul Lewis, played by Canadian actor, Taylor Kitsch. Blackmailed into spending one month in the harbour, the residents then proceed to "seduce" the doctor into staying, using everything from cricket (the doctors favourite sport), to guilt (they spread a rumour that the only person who could patch them up was the old butcher and faked huge, nasty scars as proof of his incompetence), to finding money where you least expect it (there's a running gag about that that continues throughout the film).
Although the plot is quite predictable, the story and residents of Tickle Harbour are extremely charming and likeable, and completely draw you in. I am a big fan of Taylor Kitsch, and think that he's a really good actor who has just, for one reason or another, chosen the wrong projects or been involved with projects that have been handled poorly by the studio (I'm looking at you John Carter!). He is well cast here, and he appears to be having a ball in this small, Canadian indie. The jokes are humorous and plentiful and I found myself laughing out loud on a number of occasions. There is the predictable love interest, as well as the extremely common, "the truth comes out" confrontation at the end, and of course, everything was wrapped up in a neat little bow by the time the end credits began to roll, but I found that I didn't mind these predictable tropes, as the overall charm of the movie was more than enough to satisfy.
While I wouldn't call this the greatest movie that I have seen this year, I would definitely recommend it. It's a heartwarming and charming tale that embraces you like a warm hug. If you are in Canada, I would definitely recommend that you check it out. If you aren't, well, I'm sure that eventually it will either roll around to on-demand or, eventually, Netflix. Just keep your eyes open for it. It's a lovely little piece of Canadiana that I'm sure you'll enjoy.
Saturday, 31 May 2014
Is Marvel Trying Too Hard To Fit A Square Peg In A Round Hole?
News broke earlier this week that Edgar Wright was leaving the Ant-Man project over at Marvel, after 8 years of development, due to creative difference. Basically, Marvel wanted Ant-Man to fit into their already established, ever expanding, Cinematic Universe, and Wright wasn't willing to compromise his vision of the film to let them do that. Rumour has it that Marvel went ahead and got an in-house writer to do rewrites on the latest Wright/Cornish script, and Wright finally said to hell with it and walked. Not that I can blame him. I mean he's been working on this project since 2006... long before the Marvel Cinematic Universe was even a blip on the radar. And it's definitely not cool for someone to tamper with and change your work without your knowledge. So, I can understand how it came to this in the end.
I got a chance to call in and talk with Kristian Harloff and Mark Ellis, briefly, over on The Schmoes Know Movie Show this past Thursday night about this. (If you're not watching it, you really should be. It's a great show. 6:00pm-8:00pm every Thursday at www.schmoesknow.com ). I mentioned that, to me, this looks an awful lot like the problems that occurred in 2005 with Bryan Singer and Fox. For those that don't know, just before filming was to begin on the third and fourth X-Men films, Singer abruptly left the project, taking his script with him, to direct Superman Returns. The studio, in a bit of a panic, eventually hired Brett Ratner and we got X-Men: The Last Stand. Enough said! Kristian mentioned that he doesn't see it this way, as Marvel is a different studio than Fox, and that they have a better grasp on their properties. While I understand the logic, and do agree, it's still a huge gamble on their part, I think. Ant-Man is a risky enough character to begin with, but replacing a Wright/Cornish script with something written in-house and Wright as director with a capable, albeit average director (given the short-list that's going around, anyway!) is just not what you want to see happen. I liked the idea of Wright because he was outside of the box, and I think he would have brought an interesting take on the character. I also think that his name would have brought people, who might not have been interested in the character of Ant-Man but were definitely interested in the name Edgar Wright, to see this film.
But this got me thinking... Is Marvel at a place where they're now willing to sacrifice vision so that all of their properties can fit inside the little box that they've created, known as the MCU? These days, it seems that everything that they touch is forced to fit into the Marvel Cinematic Universe. All of their Avengers related movies are included, of course, and so is their Marvel's Agents of S.H.I.E.L.D. television show. It makes sense that their new Marvel's Agent Carter show, debuting in the 2014-2015 TV season, will also be part of the MCU, as it will follow the life of Peggy Carter, after she loses Steve Rogers, and will basically tell the story of the development of S.H.I.E.L.D., and I'm assuming, the infiltration of HYDRA. To me, that makes sense as well. The main backbone of the MCU has been S.H.I.E.L.D. from the beginning, so I understand that properties involving the agency will play a part in the bigger picture.
When the Defenders project with Netflix was announced in the fall of 2013, I was glad that we were getting something a little different. Set to air sometime in 2015, it will be comprised of four, 13-episode story arcs, featuring Daredevil, Jessica Jones, Iron Fist and Luke Cage, culminating in a mini-series based on The Defenders. This is awesome. Netflix releases all of it's program's episodes at once, making it the perfect opportunity to binge-watch over the weekend. And then word came out that these properties too, would be part of the bigger, Marvel Cinematic Universe. Bob Iger, CEO of Disney, even went as far as to say that if these characters prove popular on Netflix, that it's possible they could become feature films. And to this I say, why? Why do they all have to be related? Can't The MCU and The Defenders Universe be two separate entities?
Don't get me wrong... I love the idea of Marvel expanding it's brand and branching out in different directions. The winner in this scenario is clearly me, the fan. I just worry that things are going to get muddled, with so much going on. Let's face it, while I enjoyed Agents of S.H.I.E.L.D., it had some serious issues in it's first season, that were only fixed once Captain America: The Winter Soldier was finally released in April, and they could reveal that S.H.I.E.L.D. was actually compromised and was virtually HYDRA. This means that everything that happened with the battle of New York in the Avengers is going to play heavily on what happens in these Defenders projects, as they are based out of New York City, as well. This is an awful lot of canon to carry around and I'm not sure that it's going to work as well as they hope. Sure, a lot of people are interested in the movies that Marvel releases. That doesn't mean that they're going to watch the television shows and streaming series, in order to remain "caught up" in what's going on in the MCU. For example, you really needed to watch Winter Soldier on it's opening weekend in April, as the two episodes of S.H.I.E.L.D. that surrounded it, played heavily into the events that happened in the film. Not everyone watches every genre with the same enthusiasm, and I know that while Marvel's is hoping for it, they are banking an awful lot on the idea that those that care about the MCU are going to automatically care about the other related projects.
I fear, in forcing these projects to fit into the box that they've created, that they may be compromising part of their individuality, as well. Up until now, I've enjoyed the fact that Marvel has let it's characters be themselves, while using the threads of the MCU to bind them together in a cohesive package. With this Ant-Man debacle currently going on, it appears that they are getting more aggressive in what they will and will not accept in their universe. A lot of people have cried foul, and said that Marvel should have just given the reigns to Wright and let him do what he wanted, like they have in the past with their directors, like Favreau, Black and Whedon. Make no mistake about it, people, while Favreau, Black and Whedon were able to bring their visions to the screen, they by no means, ever had free reign to do whatever they wanted. Marvel has always been in the driver seat when it comes to their properties and what they do and do not want to see on the screen. It just may not have been as obvious as it is with this whole Edgar Wright thing right now, but it's always been the case. Marvel is in charge, and, it looks like, right now, is not willing to compromise on it's vision, no matter what kind of talent they are dealing with. Let's just hope that it doesn't backfire on them.
I got a chance to call in and talk with Kristian Harloff and Mark Ellis, briefly, over on The Schmoes Know Movie Show this past Thursday night about this. (If you're not watching it, you really should be. It's a great show. 6:00pm-8:00pm every Thursday at www.schmoesknow.com ). I mentioned that, to me, this looks an awful lot like the problems that occurred in 2005 with Bryan Singer and Fox. For those that don't know, just before filming was to begin on the third and fourth X-Men films, Singer abruptly left the project, taking his script with him, to direct Superman Returns. The studio, in a bit of a panic, eventually hired Brett Ratner and we got X-Men: The Last Stand. Enough said! Kristian mentioned that he doesn't see it this way, as Marvel is a different studio than Fox, and that they have a better grasp on their properties. While I understand the logic, and do agree, it's still a huge gamble on their part, I think. Ant-Man is a risky enough character to begin with, but replacing a Wright/Cornish script with something written in-house and Wright as director with a capable, albeit average director (given the short-list that's going around, anyway!) is just not what you want to see happen. I liked the idea of Wright because he was outside of the box, and I think he would have brought an interesting take on the character. I also think that his name would have brought people, who might not have been interested in the character of Ant-Man but were definitely interested in the name Edgar Wright, to see this film.
But this got me thinking... Is Marvel at a place where they're now willing to sacrifice vision so that all of their properties can fit inside the little box that they've created, known as the MCU? These days, it seems that everything that they touch is forced to fit into the Marvel Cinematic Universe. All of their Avengers related movies are included, of course, and so is their Marvel's Agents of S.H.I.E.L.D. television show. It makes sense that their new Marvel's Agent Carter show, debuting in the 2014-2015 TV season, will also be part of the MCU, as it will follow the life of Peggy Carter, after she loses Steve Rogers, and will basically tell the story of the development of S.H.I.E.L.D., and I'm assuming, the infiltration of HYDRA. To me, that makes sense as well. The main backbone of the MCU has been S.H.I.E.L.D. from the beginning, so I understand that properties involving the agency will play a part in the bigger picture.
When the Defenders project with Netflix was announced in the fall of 2013, I was glad that we were getting something a little different. Set to air sometime in 2015, it will be comprised of four, 13-episode story arcs, featuring Daredevil, Jessica Jones, Iron Fist and Luke Cage, culminating in a mini-series based on The Defenders. This is awesome. Netflix releases all of it's program's episodes at once, making it the perfect opportunity to binge-watch over the weekend. And then word came out that these properties too, would be part of the bigger, Marvel Cinematic Universe. Bob Iger, CEO of Disney, even went as far as to say that if these characters prove popular on Netflix, that it's possible they could become feature films. And to this I say, why? Why do they all have to be related? Can't The MCU and The Defenders Universe be two separate entities?
Don't get me wrong... I love the idea of Marvel expanding it's brand and branching out in different directions. The winner in this scenario is clearly me, the fan. I just worry that things are going to get muddled, with so much going on. Let's face it, while I enjoyed Agents of S.H.I.E.L.D., it had some serious issues in it's first season, that were only fixed once Captain America: The Winter Soldier was finally released in April, and they could reveal that S.H.I.E.L.D. was actually compromised and was virtually HYDRA. This means that everything that happened with the battle of New York in the Avengers is going to play heavily on what happens in these Defenders projects, as they are based out of New York City, as well. This is an awful lot of canon to carry around and I'm not sure that it's going to work as well as they hope. Sure, a lot of people are interested in the movies that Marvel releases. That doesn't mean that they're going to watch the television shows and streaming series, in order to remain "caught up" in what's going on in the MCU. For example, you really needed to watch Winter Soldier on it's opening weekend in April, as the two episodes of S.H.I.E.L.D. that surrounded it, played heavily into the events that happened in the film. Not everyone watches every genre with the same enthusiasm, and I know that while Marvel's is hoping for it, they are banking an awful lot on the idea that those that care about the MCU are going to automatically care about the other related projects.
I fear, in forcing these projects to fit into the box that they've created, that they may be compromising part of their individuality, as well. Up until now, I've enjoyed the fact that Marvel has let it's characters be themselves, while using the threads of the MCU to bind them together in a cohesive package. With this Ant-Man debacle currently going on, it appears that they are getting more aggressive in what they will and will not accept in their universe. A lot of people have cried foul, and said that Marvel should have just given the reigns to Wright and let him do what he wanted, like they have in the past with their directors, like Favreau, Black and Whedon. Make no mistake about it, people, while Favreau, Black and Whedon were able to bring their visions to the screen, they by no means, ever had free reign to do whatever they wanted. Marvel has always been in the driver seat when it comes to their properties and what they do and do not want to see on the screen. It just may not have been as obvious as it is with this whole Edgar Wright thing right now, but it's always been the case. Marvel is in charge, and, it looks like, right now, is not willing to compromise on it's vision, no matter what kind of talent they are dealing with. Let's just hope that it doesn't backfire on them.
Friday, 30 May 2014
Random Bits From The Week That Was...
So, here were are again... Friday! And, as always, there were a number of news stories that broke this week, that either I was too lazy to blog about, or they didn't require a full on rant, as is my usual...
Days Of Future Past Takes Off...
The folks over at Fox have to be pretty pleased with the numbers that the latest film in their X-Men franchise has been pulling in. Not only did it open with $110M domestically over the long, Memorial Day weekend, it also made a huge $171.08M internationally. This overseas number eclipsed the numbers put up by Avatar, making it Fox's biggest international opening weekend of all time. It's in tough this weekend, however, going against new releases Maleficent and A Million Ways To Die In The West. I expect that Maleficent will come out the clear winner, given it's family friendly vibe and that Million Ways will falter, as word is the film's not that good. It will be interesting to see the percentage drop for DOFP, given the strong word of mouth factor and the great reviews for the film.
Old and New Faces Will Appear In Apocalypse...
Since the release of DOFP and that post credits scene involving En Sabah Nur, speculation has been running rampant in regards to the next instalment, X-Men: Apocalypse, set for release in the summer of 2016. While nothing has been officially announced, as the project is still in the early stages of development, it has been speculated that the story will be more of a sequel to First Class, involving the main cast of that branch of the franchise. Set in the 1980's, it will be a study in the origins of the mutant species, which of course, means Apocalypse. Writer Simon Kinberg did announce this week that some of the original cast members would be back for the film, although how this is going to work, I'm not so sure. They may do another "alternate timeline/time travel" thing, which would be the only way for it to make sense, although I'm not sure that this is the right way to go, given that they just mucked with the timeline in DOFP. I had heard another rumour that Scott, Jean and Storm would be recast with younger actors, making the characters fit in with the First Class cast. I guess we'll see what happens with this one.
Fantastic Beasts Still Looking For A Director...
It appears that Alfonso Cuaron has dropped out of the next Harry Potter franchise film. Rumoured, last week, to be in deep discussion with Warner Brothers to direct Fantastic Beasts and Where to Find Them, earlier this week Cuaron stated that he would not be directing the first film in the upcoming trilogy. It seems that immersing himself in another special effects laden project is not what he was looking for, which makes sense given the time and effort that went into his Academy Award winning film, Gravity. Of course, this leads to even greater speculation that he just may be the guy to bring the world of The Shining back to the big screen. Although he denies knowing anything about The Overlook Hotel project over at Warner Brothers, I wouldn't be surprised to eventually see his name attached. I think that this is a better project for his directing style than Fantastic Beasts (I am one of the very few people who did not like his take on The Prisoner of Azkaban) and am looking forward to hearing more about this project.
Plot Details For Pixar's "Inside Out" Released...
Sadly, there are no new Pixar films being released in 2014. However, there are a number of projects that are being geared up by the studio to be released in the next couple of years. Some that are very interesting. Set for release on June 19, 2015, "Inside Out" is one of them, and this week we got a peek at what the movie is about. Set inside the mind of 11 year-old Riley, as her world is turned upside down when her family moves to a new city. Guided by her emotions- Joy, Fear, Anger, Disgust and Sadness- we'll see the conflicts that arise in her head as her emotions try to help her navigate a new city, a new house and a new school. The voice cast for this project looks fantastic and I think that this is a perfect project for Pixar. Lately, some of their films, mostly their sequels, have been considered disappointments, so it's nice to see some new, interesting projects on the horizon. (Although the two sequels that they have planned next are on my must see list, Finding Dory and The Incredibles 2). Let's hope this marks a bit of a resurgence for the once, untouchable animation studio.
Del Toro's "Book of Life" Trailer Drops...
So, apparently, Guillermo Del Toro doesn't sleep. He has like 100,000 projects on the go at any one time (although one of them doesn't appear to be Hellboy 3!) and his fingers in a 100,000 others. Like this one. An animated movie, set for release on October 17, 2014, it tells the story of Manolo, a young man torn between fulfilling the expectations of his family and following his heart. Visually, this project looks stunning. The vivid colours and imagery really pop, and the actors cast to voice the film are top notch. It has a very unique animated style, giving it an almost stop motion quality. Overall, it reminds me of Tim Burton's stop motion masterpiece, The Nightmare Before Christmas. This one was not on my radar before now, but has quickly become one of my most anticipated films of the year.
Fox Is Looking For A New Chairman of Entertainment It Seems...
Kevin Reilly will be stepping down as the Chairman of Entertainment over at the Fox Broadcasting Company. Holding the position since 2012, Reilly will depart the post by the end of June. With only three of the nine series that Fox debuted in the fall, earning renewals, it's no surprise that jobs will be on the chopping block. Returning programming at the network also took a hit this season, most of it's shows either flat or down in the ratings from previous years. Fox placed second overall in the demo this season, but fourth in total audience. Change, in the face of these numbers, was inevitable. While I enjoy programming over at Fox, it seems like the studio doesn't have any faith in their projects and they sharpen the axe quite quickly. It will be interesting to see how they handle the buzzy Gotham in the fall, if the numbers aren't what they hoped for. Of course, I'm still angry at the network and Murdoch for cancelling Firefly back in 2002. Apparently, I hold a grudge! :)
And finally...
New International Trailer For Apes on Horses Drops...
A new trailer for the upcoming Dawn of The Planet of The Apes dropped, and boy is it a doozy. Even though there is not a whole lot of new footage in the trailer, it is rearranged slightly, giving a different perspective on the film. I thought nothing of Rise of the Planet of the Apes when it was released, but was completely blown away when I eventually saw the film. It was an incredible story, told by an incredible cast and Andy Serkis as Caesar was amazing. I am greatly anticipating this one, and will be sure to review it once I finally see it on July 11th.
Days Of Future Past Takes Off...
The folks over at Fox have to be pretty pleased with the numbers that the latest film in their X-Men franchise has been pulling in. Not only did it open with $110M domestically over the long, Memorial Day weekend, it also made a huge $171.08M internationally. This overseas number eclipsed the numbers put up by Avatar, making it Fox's biggest international opening weekend of all time. It's in tough this weekend, however, going against new releases Maleficent and A Million Ways To Die In The West. I expect that Maleficent will come out the clear winner, given it's family friendly vibe and that Million Ways will falter, as word is the film's not that good. It will be interesting to see the percentage drop for DOFP, given the strong word of mouth factor and the great reviews for the film.
Old and New Faces Will Appear In Apocalypse...
Since the release of DOFP and that post credits scene involving En Sabah Nur, speculation has been running rampant in regards to the next instalment, X-Men: Apocalypse, set for release in the summer of 2016. While nothing has been officially announced, as the project is still in the early stages of development, it has been speculated that the story will be more of a sequel to First Class, involving the main cast of that branch of the franchise. Set in the 1980's, it will be a study in the origins of the mutant species, which of course, means Apocalypse. Writer Simon Kinberg did announce this week that some of the original cast members would be back for the film, although how this is going to work, I'm not so sure. They may do another "alternate timeline/time travel" thing, which would be the only way for it to make sense, although I'm not sure that this is the right way to go, given that they just mucked with the timeline in DOFP. I had heard another rumour that Scott, Jean and Storm would be recast with younger actors, making the characters fit in with the First Class cast. I guess we'll see what happens with this one.
Fantastic Beasts Still Looking For A Director...
It appears that Alfonso Cuaron has dropped out of the next Harry Potter franchise film. Rumoured, last week, to be in deep discussion with Warner Brothers to direct Fantastic Beasts and Where to Find Them, earlier this week Cuaron stated that he would not be directing the first film in the upcoming trilogy. It seems that immersing himself in another special effects laden project is not what he was looking for, which makes sense given the time and effort that went into his Academy Award winning film, Gravity. Of course, this leads to even greater speculation that he just may be the guy to bring the world of The Shining back to the big screen. Although he denies knowing anything about The Overlook Hotel project over at Warner Brothers, I wouldn't be surprised to eventually see his name attached. I think that this is a better project for his directing style than Fantastic Beasts (I am one of the very few people who did not like his take on The Prisoner of Azkaban) and am looking forward to hearing more about this project.
Plot Details For Pixar's "Inside Out" Released...
Sadly, there are no new Pixar films being released in 2014. However, there are a number of projects that are being geared up by the studio to be released in the next couple of years. Some that are very interesting. Set for release on June 19, 2015, "Inside Out" is one of them, and this week we got a peek at what the movie is about. Set inside the mind of 11 year-old Riley, as her world is turned upside down when her family moves to a new city. Guided by her emotions- Joy, Fear, Anger, Disgust and Sadness- we'll see the conflicts that arise in her head as her emotions try to help her navigate a new city, a new house and a new school. The voice cast for this project looks fantastic and I think that this is a perfect project for Pixar. Lately, some of their films, mostly their sequels, have been considered disappointments, so it's nice to see some new, interesting projects on the horizon. (Although the two sequels that they have planned next are on my must see list, Finding Dory and The Incredibles 2). Let's hope this marks a bit of a resurgence for the once, untouchable animation studio.
Del Toro's "Book of Life" Trailer Drops...
So, apparently, Guillermo Del Toro doesn't sleep. He has like 100,000 projects on the go at any one time (although one of them doesn't appear to be Hellboy 3!) and his fingers in a 100,000 others. Like this one. An animated movie, set for release on October 17, 2014, it tells the story of Manolo, a young man torn between fulfilling the expectations of his family and following his heart. Visually, this project looks stunning. The vivid colours and imagery really pop, and the actors cast to voice the film are top notch. It has a very unique animated style, giving it an almost stop motion quality. Overall, it reminds me of Tim Burton's stop motion masterpiece, The Nightmare Before Christmas. This one was not on my radar before now, but has quickly become one of my most anticipated films of the year.
Fox Is Looking For A New Chairman of Entertainment It Seems...
Kevin Reilly will be stepping down as the Chairman of Entertainment over at the Fox Broadcasting Company. Holding the position since 2012, Reilly will depart the post by the end of June. With only three of the nine series that Fox debuted in the fall, earning renewals, it's no surprise that jobs will be on the chopping block. Returning programming at the network also took a hit this season, most of it's shows either flat or down in the ratings from previous years. Fox placed second overall in the demo this season, but fourth in total audience. Change, in the face of these numbers, was inevitable. While I enjoy programming over at Fox, it seems like the studio doesn't have any faith in their projects and they sharpen the axe quite quickly. It will be interesting to see how they handle the buzzy Gotham in the fall, if the numbers aren't what they hoped for. Of course, I'm still angry at the network and Murdoch for cancelling Firefly back in 2002. Apparently, I hold a grudge! :)
And finally...
New International Trailer For Apes on Horses Drops...
A new trailer for the upcoming Dawn of The Planet of The Apes dropped, and boy is it a doozy. Even though there is not a whole lot of new footage in the trailer, it is rearranged slightly, giving a different perspective on the film. I thought nothing of Rise of the Planet of the Apes when it was released, but was completely blown away when I eventually saw the film. It was an incredible story, told by an incredible cast and Andy Serkis as Caesar was amazing. I am greatly anticipating this one, and will be sure to review it once I finally see it on July 11th.
Thursday, 29 May 2014
Happy Birthday Bro!
Today is my brother's birthday. He would have been 38 years old...
We were born 15 months apart. As my Mom says, it was like she had two babies. Growing up, we were the best of friends. Pretty much inseparable. While I was a girly-girl, and liked Barbies and dollhouses and things that were pink, because of him, and my youngest brother, I also appreciated Star Wars and He-Man and GI Joe. While they wouldn't play with my stuff... you know, it being pink and all!... I had no issue setting up Snake Mountain or taking Luke and Han out on missions. I remember once, we were playing outside in the snow and somehow Luke Skywalker got lost in an avalanche. We searched for a long time, but couldn't find him anywhere. He made his reappearance in the spring when the snow melted. We watched Garfield holiday specials and The Muppet Show together. Walked home from school, went to the movies. Regular brother and sister things.
As we got older, and became obnoxious teenagers, we drifted apart. As is wont to happen, we started becoming different people and hanging out with different crowds. Our goals and dreams became different and our personalities began to clash. We were no longer interested in the same things or the same ideas. As we got older, my brother also seemed to develop a serious case of middle child syndrome. Even though my parents treated us all as equals, he somehow seemed to feel that we, and the world, owed him something. And this used to drive me nuts! Often, we would get into fights over the stupidest things, and other times we couldn't even have a conversation without it turning in to an argument.
As we got into our 20's, we were virtual strangers. I moved away to go to University and pretty much all of our communication ceased. We saw each other on holidays and maybe had a conversation or two every year, but that was about it. I still felt that he had a huge chip on his shoulder, and he thought that I was nothing but a pretentious bitch. That was pretty much our relationship for a decade or so. We loved each other, because we were family, but definitely weren't friends like we used to be.
He died on November 26, 2008. It's a day that is etched in my memory, and I'm pretty sure will be for the rest of my life. I remember what the weather was like that day, what I had for lunch, what I was doing when the knock on the door happened. I remember answering the door, my stomach in knots, because there was only two reasons for two police officers to come knocking that late at night, and I knew no one was getting arrested. I remember the officer actually saying the word "deceased."
I didn't cry at his funeral. I see crying as a weakness, but only in myself, not in other people. It was the first time that I had ever seen my Dad cry. There were 3 songs played at his funeral, songs that he had always had a connection with, and to this day, I can't listen to them. I haven't been to the cemetery to visit his grave, even though I heard that his headstone is beautiful. I can't do it. It's too hard... too final. My Mom stopped going because it made her too sad, but my Dad still goes every Sunday. I am just thankful that the last time I saw him, a couple of days before he passed, we actually managed to have a nice conversation. It was mundane, about chicken, but it didn't end in a big fight, so I'll take it as a win. When he reached his 30's, he changed, seemed to mature a bit, and became a lovely, interesting man. And I'm sad that I didn't get a chance to know the man that he would become.
I think about my brother every day... which makes me even sadder, because I think about him now, more than I ever did while he was alive. But I guess that's what happens. We don't truly appreciate what we have until it's gone. There's a part of me that still can't believe he's gone. There's a part of my heart that's missing, and I'll never quite be whole again. But, life does go on for those of us left behind. And while I would really rather that he be here with us, I am glad to know, since that's not possible, that he's up there, looking out for us. Someone up there is on our side.
I miss you. I love you, very much, even though I didn't say it enough. Happy birthday, little brother.
We were born 15 months apart. As my Mom says, it was like she had two babies. Growing up, we were the best of friends. Pretty much inseparable. While I was a girly-girl, and liked Barbies and dollhouses and things that were pink, because of him, and my youngest brother, I also appreciated Star Wars and He-Man and GI Joe. While they wouldn't play with my stuff... you know, it being pink and all!... I had no issue setting up Snake Mountain or taking Luke and Han out on missions. I remember once, we were playing outside in the snow and somehow Luke Skywalker got lost in an avalanche. We searched for a long time, but couldn't find him anywhere. He made his reappearance in the spring when the snow melted. We watched Garfield holiday specials and The Muppet Show together. Walked home from school, went to the movies. Regular brother and sister things.
As we got older, and became obnoxious teenagers, we drifted apart. As is wont to happen, we started becoming different people and hanging out with different crowds. Our goals and dreams became different and our personalities began to clash. We were no longer interested in the same things or the same ideas. As we got older, my brother also seemed to develop a serious case of middle child syndrome. Even though my parents treated us all as equals, he somehow seemed to feel that we, and the world, owed him something. And this used to drive me nuts! Often, we would get into fights over the stupidest things, and other times we couldn't even have a conversation without it turning in to an argument.
As we got into our 20's, we were virtual strangers. I moved away to go to University and pretty much all of our communication ceased. We saw each other on holidays and maybe had a conversation or two every year, but that was about it. I still felt that he had a huge chip on his shoulder, and he thought that I was nothing but a pretentious bitch. That was pretty much our relationship for a decade or so. We loved each other, because we were family, but definitely weren't friends like we used to be.
He died on November 26, 2008. It's a day that is etched in my memory, and I'm pretty sure will be for the rest of my life. I remember what the weather was like that day, what I had for lunch, what I was doing when the knock on the door happened. I remember answering the door, my stomach in knots, because there was only two reasons for two police officers to come knocking that late at night, and I knew no one was getting arrested. I remember the officer actually saying the word "deceased."
I didn't cry at his funeral. I see crying as a weakness, but only in myself, not in other people. It was the first time that I had ever seen my Dad cry. There were 3 songs played at his funeral, songs that he had always had a connection with, and to this day, I can't listen to them. I haven't been to the cemetery to visit his grave, even though I heard that his headstone is beautiful. I can't do it. It's too hard... too final. My Mom stopped going because it made her too sad, but my Dad still goes every Sunday. I am just thankful that the last time I saw him, a couple of days before he passed, we actually managed to have a nice conversation. It was mundane, about chicken, but it didn't end in a big fight, so I'll take it as a win. When he reached his 30's, he changed, seemed to mature a bit, and became a lovely, interesting man. And I'm sad that I didn't get a chance to know the man that he would become.
I think about my brother every day... which makes me even sadder, because I think about him now, more than I ever did while he was alive. But I guess that's what happens. We don't truly appreciate what we have until it's gone. There's a part of me that still can't believe he's gone. There's a part of my heart that's missing, and I'll never quite be whole again. But, life does go on for those of us left behind. And while I would really rather that he be here with us, I am glad to know, since that's not possible, that he's up there, looking out for us. Someone up there is on our side.
I miss you. I love you, very much, even though I didn't say it enough. Happy birthday, little brother.
Monday, 26 May 2014
Would A Score By Any Other Name Sound As Sweet?
The score is the life blood of a film. I'm not talking about the soundtrack, although occassionally, they are one and the same thing. I am talking about the actual score. The music that plays underneath the dialogue or whatever else is happening on the screen. Music that is composed especially for that film.
Have you ever tried to watch a movie without the score? The difference is amazing and quite astonishing. Whether you realize it or not, it's that music that plays that heightens the emotion you're feeling in regards to what's happening on the big screen. It's what causes those tingles to race up your spine with suspense. It's what pulls you through when it seems like all hope is lost. It's what keeps you on the edge of your seat. It's what breaks your heart at that one critical moment. The score is what pulls you forward, the thread that holds it all together, the one constant in the ever moving, ever changing landscape.
I love music. And while I usually like lyrics, movie scores are the one time where I don't mind the lack of words. You can experience the tone and mood perfectly, without the need for verbal cues. I have my favorite composers and often turn on a score in the background, letting the music take me to far away places. Thanks to Mark Reilly over at www.schmoesknow.com I have a new composer to add to my growing list of favorites.
Michael Giacchino does masterful work. He won an Academy Award for scoring the delightful Pixar film, Up. (How it took me so long to find him, I'll never know!) Yes, he is the man responsible for the breathtaking melody during the 4:10 minutes entitled "Married Life", the beautiful and heartbreaking telling of Carl and Ellie's life together. He and the fabulous animators at Pixar studios are the reason that you always cry. He has also scored a handful of other Pixar properties, including The Incredibles, another of my favorites, and Ratatouille, which is probably my most favourite. The score to this film, with it's French flair is exquisite. He also scored both of the new Star Trek films, as well as Super 8 for J.J. Abrams and has some very interesting projects coming up this year. Now that he is on my radar (Again, what took me so long?), I am interested to see what he does with both Dawn of The Planet of the Apes and Jupiter Ascending. Makes me even more excited for Apes and a bit more curious about Jupiter.
Of course, no discussion about movie scores is complete without the mention of the incomparable John Williams. The man is a genius. Pure and simple. No question, no hesitation, no anything. He is a genius. He has created some of the most beautiful, most instantly recognizable pieces of music in history. His score for the upcoming Star Wars Episode VII will be his 113th film score. Let's look at that number again... he has scored 113 films. One hundred and thirteen. That number is staggering and astonishing. And cements him as the greatest composer over the last 60 years, if not arguably, ever. Hands down, there is no way that you can argue his genius. I mean, can you imagine Jaws without those two base notes? What about Star Wars without the Main Title theme or the Imperial March? Or the five tones that repeat throughout Close Encounters of the Third Kind? Who is Indiana Jones without his theme music? How about those first few notes that play over the credits of Harry Potter and the Sorcerers Stone? All John Williams. While I have a number of his scores (and with the list of movies that he's scored, you would be hard pressed to find anyone that doesn't!) and I enjoy them all, my favourites have to be the scores to the Star Wars movies. All six of them. I know that the prequels had a lot of problems, but the score was definitely not one of them. One of my all-time favourite pieces of music is Binary Sunset... the bit that plays in A New Hope when Luke is watching the twin suns of Tatooine set. To me, it is the epitome of Star Wars and always brings a smile to my face and a shiver to my spine.
There are many amazing artists out there who have created beautiful music. Marvin Hamlisch, who scored such classics as The Way We Were and Sophie's Choice. Paul Williams, who scored the delightful Muppet Movie and A Star Is Born (and two of my most favourite Christmas specials, Emmet Otter's Jugband Christmas and A Muppet's Christmas Carol). Randy Newman, who scored all three Toy Story movies, as well as The Natural. Hans Zimmer, who scored The Lion King and Man of Steel, although my favourite scores are his Kung-Fu Panda and Pirates of the Caribbean: On Stranger Tides. James Horner, who scored An American Tail, Willow (another of my most favourites), Braveheart and Titanic. Danny Elfman, who scored such films as Beetlejuice, Edward Scissorhands and Hellboy II: The Golden Army. James Newton Howard. Rachel Portman. Alexandre Desplat. The list goes on and on and on...
My favourite all time score was composed by Academy Award winner, Howard Shore. He has scored some amazing movies, like Philadelphia, The Silence of the Lambs and Eastern Promises, but to me, nothing will compare to the music he composed for the Lord of the Rings trilogy. The haunting beauty of the score holds a special place in my heart, as do the movies themselves. Listening to the score brings back all the emotion and feelings that I have when I watch the films. I can't listen to certain parts without getting emotional... The Grey Havens makes me tear up every time, and Annie Lennox's Into The West makes me bawl like a baby. (on a side note, I'm not actually allowed to watch the movies anymore, because when I do, I take the entire day and watch all 3 special editions back to back... and I pretty much bawl like a baby from about halfway through Return of the King, right to the end... so, no, I'm banned from watching them right now!)
They say the song remembers when. That just hearing a certain song or melody can take you back to places instantly, and that is never more true than with a film score. Once you take away the picture and the dialogue, and just feel what the composer is trying to tell you through their music, you'll appreciate the movie that much more. At least I know I do.
Have you ever tried to watch a movie without the score? The difference is amazing and quite astonishing. Whether you realize it or not, it's that music that plays that heightens the emotion you're feeling in regards to what's happening on the big screen. It's what causes those tingles to race up your spine with suspense. It's what pulls you through when it seems like all hope is lost. It's what keeps you on the edge of your seat. It's what breaks your heart at that one critical moment. The score is what pulls you forward, the thread that holds it all together, the one constant in the ever moving, ever changing landscape.
I love music. And while I usually like lyrics, movie scores are the one time where I don't mind the lack of words. You can experience the tone and mood perfectly, without the need for verbal cues. I have my favorite composers and often turn on a score in the background, letting the music take me to far away places. Thanks to Mark Reilly over at www.schmoesknow.com I have a new composer to add to my growing list of favorites.
Michael Giacchino does masterful work. He won an Academy Award for scoring the delightful Pixar film, Up. (How it took me so long to find him, I'll never know!) Yes, he is the man responsible for the breathtaking melody during the 4:10 minutes entitled "Married Life", the beautiful and heartbreaking telling of Carl and Ellie's life together. He and the fabulous animators at Pixar studios are the reason that you always cry. He has also scored a handful of other Pixar properties, including The Incredibles, another of my favorites, and Ratatouille, which is probably my most favourite. The score to this film, with it's French flair is exquisite. He also scored both of the new Star Trek films, as well as Super 8 for J.J. Abrams and has some very interesting projects coming up this year. Now that he is on my radar (Again, what took me so long?), I am interested to see what he does with both Dawn of The Planet of the Apes and Jupiter Ascending. Makes me even more excited for Apes and a bit more curious about Jupiter.
Of course, no discussion about movie scores is complete without the mention of the incomparable John Williams. The man is a genius. Pure and simple. No question, no hesitation, no anything. He is a genius. He has created some of the most beautiful, most instantly recognizable pieces of music in history. His score for the upcoming Star Wars Episode VII will be his 113th film score. Let's look at that number again... he has scored 113 films. One hundred and thirteen. That number is staggering and astonishing. And cements him as the greatest composer over the last 60 years, if not arguably, ever. Hands down, there is no way that you can argue his genius. I mean, can you imagine Jaws without those two base notes? What about Star Wars without the Main Title theme or the Imperial March? Or the five tones that repeat throughout Close Encounters of the Third Kind? Who is Indiana Jones without his theme music? How about those first few notes that play over the credits of Harry Potter and the Sorcerers Stone? All John Williams. While I have a number of his scores (and with the list of movies that he's scored, you would be hard pressed to find anyone that doesn't!) and I enjoy them all, my favourites have to be the scores to the Star Wars movies. All six of them. I know that the prequels had a lot of problems, but the score was definitely not one of them. One of my all-time favourite pieces of music is Binary Sunset... the bit that plays in A New Hope when Luke is watching the twin suns of Tatooine set. To me, it is the epitome of Star Wars and always brings a smile to my face and a shiver to my spine.
There are many amazing artists out there who have created beautiful music. Marvin Hamlisch, who scored such classics as The Way We Were and Sophie's Choice. Paul Williams, who scored the delightful Muppet Movie and A Star Is Born (and two of my most favourite Christmas specials, Emmet Otter's Jugband Christmas and A Muppet's Christmas Carol). Randy Newman, who scored all three Toy Story movies, as well as The Natural. Hans Zimmer, who scored The Lion King and Man of Steel, although my favourite scores are his Kung-Fu Panda and Pirates of the Caribbean: On Stranger Tides. James Horner, who scored An American Tail, Willow (another of my most favourites), Braveheart and Titanic. Danny Elfman, who scored such films as Beetlejuice, Edward Scissorhands and Hellboy II: The Golden Army. James Newton Howard. Rachel Portman. Alexandre Desplat. The list goes on and on and on...
My favourite all time score was composed by Academy Award winner, Howard Shore. He has scored some amazing movies, like Philadelphia, The Silence of the Lambs and Eastern Promises, but to me, nothing will compare to the music he composed for the Lord of the Rings trilogy. The haunting beauty of the score holds a special place in my heart, as do the movies themselves. Listening to the score brings back all the emotion and feelings that I have when I watch the films. I can't listen to certain parts without getting emotional... The Grey Havens makes me tear up every time, and Annie Lennox's Into The West makes me bawl like a baby. (on a side note, I'm not actually allowed to watch the movies anymore, because when I do, I take the entire day and watch all 3 special editions back to back... and I pretty much bawl like a baby from about halfway through Return of the King, right to the end... so, no, I'm banned from watching them right now!)
They say the song remembers when. That just hearing a certain song or melody can take you back to places instantly, and that is never more true than with a film score. Once you take away the picture and the dialogue, and just feel what the composer is trying to tell you through their music, you'll appreciate the movie that much more. At least I know I do.
Sunday, 25 May 2014
Review: Sometimes Your Future Lies In Your Past...
**********SPOILER ALERT!!!!!**********
The following is a review of X-Men: Day Of Future Past, and may contain spoilers. If you do not want to be spoiled, then I suggest you do not read any further. If, you are one of those weird people who don't mind being spoiled with things like plot details and such, then be all means, continue...
I have now seen this movie twice. It has been in theatres for a grand total of 3 days, and I have seen it twice. That is how much I loved it. This is a fantastic film... and I don't just mean genre film, or superhero film, I mean a great film, period. I honestly don't know that I am going to see another movie this year that I feel is better than Days Of Future Past.
To me, this movie had everything that I am looking for in a great film. The screenplay was fantastic. The story is incredibly well written, and true to the feeling of the comic book characters, without coming off too campy. There have always been some continuity issues with the X-Men franchise (some bigger than others!), and Fox has always just kind of swept them under the rug and not looked back. There are a few here too, especially in the timing of certain pivotal moments that occurred in previous movies, but, personally I am willing to overlook them, as it's difficult when you are dealing with different film makers for each property, to get them to line up exactly. (Yes, I know that Marvel has managed to do it through 8 films and a television show, but give me this one, please?). And then of course, ultimately, by the end of the film, it doesn't really matter anyway, so we might as well just go with it. The way that the Simon Kinberg was able to seamlessly weave the future story arc to the past was spectacular. The pacing and cut of the film were perfect. I can't think of a point where I felt bored or that the story was dragging or I needed more action or something to shake things up. The two plus hours flew by, both times.
A lot of people were upset when word came that Hugh Jackman, as Wolverine, would once again be the central character in the film. In the comics, it is Kitty Pryde, aka Shadowcat, who is the one who gets sent back in time to alter the events of the past. I understand Fox's decision to put Jackman front and centre. He is the face of the franchise. Everyone knows who Wolverine is, given the fact that he has been in all 7 of Fox's X-Men movies, if you include the brief cameo he did in First Class. And honestly, Jackman has never been better. I'm sure by now, the character fits him like a glove. And physically... holy hell! The man is perfection personified. He got into amazing shape for The Wolverine last year and just continued on through the filming of Days of Future Past. I'm all for gratuitous nudity if it looks like that!
With that being said, while Wolverine is a key character in this film, the movie actually belongs to James McAvoy, as the younger Charles Xavier. And boy does he deliver. Charles is a broken, defeated man and McAvoy oozes despair. His portrayal is heartbreaking. You feel his pain and grief through the screen. He is a fantastic actor and I am glad that he was able to show that here, bringing a new dimension and depth to a character that we thought we knew. (If you haven't seen McAvoy in Wanted, you really should. That is another excellent, under-rated movie). Michael Fassbender, as the younger Erik Lehnsherr, aka Magneto, is also spectacular. His portrayal of the character has always been something to marvel at, and he doesn't disappoint here. Although his character is a villain, he is also extremely sympathetic. He's doing what he thinks is right for the good of all mutants, and it's hard to fault him for that. The scene on the plane when he and Charles argue about their tumultuous past is breathtaking in it's heartbreak and intensity. (Of course, Michael Fassbender could read the phone book on screen for 2 hours and I would be mesmerized!) The rest of the cast, including Jennifer Lawrence as Mystique and Nicholas Hoult as Hank McCoy, are also at the top of their game. The performances that Bryan Singer was able to get from the entire cast is one of the things that make this such a great movie. Many of the characters, especially in the future scenes, like Bishop, Blink, Warpath, Colossus, Sunspot and Iceman, are not given a lot of screen time, but what they do with it is remarkable. It is seriously devastating to watch the Sentinel's tear through them at the end of the film. I am glad that Bryan Singer chose to come back to this universe and more or less make things right. He knows and understands this universe like no one else, which is evident by what he put on our movie screens.
The only issue that I have with this film, is the fact that, with the exception of X-Men: First Class, they managed to erase everything else that has happened in the universe. While I appreciate the "screw you" that Singer threw Ratner's way in regards to wiping X-Men: The Last Stand out of existence (while I didn't hate the film, and thought it had a few redeeming qualities, it is generally reviled by fans), I am disappointed that the events of X-Men, X2: X-Men United and X-Men Origins: Wolverine (again, I didn't hate this film either and do think that it also had some redeeming qualities and important character points, but again it is reviled by most, who I am sure are glad that the events depicted in it are now also wiped out of existence) are all moot, as well as the events of last summer's The Wolverine. It doesn't make a whole lot of sense to me for Fox to go through all of the trouble of making and marketing The Wolverine, only to have the entire thing be nothing but a memory to Logan, less than a year later. But, what can you do? What's done is done. The end scene of the movie was great though. It was fantastic to see a happy future, where everyone, including Scott Summers and Jean Grey, survived. The cameos by the original actors from all of the films was a great touch.
With the release of X-Men: Apocalypse set for exactly 2 years from now, I was slightly surprised to see that they didn't use the time travel angle to somehow get the cast from First Class in to the present timeline. It was my expectation that something along those lines would happen, as it was quite obvious, aside from Hugh Jackman, the majority of the original cast members would not be back to reprise their roles in any future projects. This movie was going to be a passing of the torch, so to speak. And I guess, in many ways, it was. Rumour has it that X-Men: Apocalypse will be more of a First Class sequel than anything else, with the surviving cast members of that movie moving forward to the 1980's. There are also plans for a third Wolverine movie, set for release in March of 2017. Many expect that this will be Hugh Jackman's final go around as the character. And while, I am hoping, that since they altered his history, and that Mystique is the "William Stryker" that takes him at the end of DOFP, they may revisit the Weapon X program storyline once more. Maybe get it right this time. Regardless, if Jackman is finally hanging up the claws for good, all I can say is, thank you, sir and bravo. While you will be missed, you will never be forgotten.
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