“Logan”: The Old Man and the Series

Logan!

“Wow, Cyclops is an even bigger jerk in the comics. Maybe I should give these a chance after all.”

Midlife Crisis Crossover calls Logan the Greatest Wolverine Solo Movie of All Time!

That’s not a hard claim to make after the soggy mishmash of X-Men Origins: Wolverine and the mostly not-bad The Wolverine, a Japanese action-adventure yarn that held up well until the final boss battle pitted Our Hero against a vengeful geezer-mech. The latter’s director James Mangold reunites with The Hugh Jackman for one last assembly with Marvel’s once-merry mutants in what may be the X-Men film least likely to sell a single action figure.

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If You’re “Chappie” and You Know It, Say You’re Sorry

Chappie!

Chappie gotta fight the powers that be. Word to your maker!

He brought you District 9, a South African sci-fi racism allegory in which Sharlto Copley slowly goes nuts before learning a life lesson, and everything ends in EXPLOSIONS. He brought you Elysium, a big Hollywood sci-fi healthcare classism allegory in which Sharlto Copley spends the entire film nuts while learning nothing, and everything ends in EXPLOSIONS. And now, writer/director Neill Blomkamp brings you Chappie, a South African sci-fi determinism allegory in which Sharlto Copley learns life lessons, then goes nuts, then learns more life lessons, and everything ends in EXPLOSIONS. Cinematic progress marches on!

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Yes, There’s a Scene After the “X-Men: Days of Future Past” End Credits

XvM!

James McAvoy and Michael Fassbender return for another Game of Genes.

From the same line of thought as The Avengers, Fast & Furious 6, and The Expendables comes another supermovie in which characters from other movies join forces in hopes of tripling their box office grosses while settling for a fraction of their normal screen time.

X-Men: Days of Future Past, the seventh film set in Fox’s version of Marvel’s mutantverse, may invite comparisons to the Back to the Future trilogy, but it’s based on an Uncanny X-Men two-parter cover-dated January and February 1981, four years before Marty McFly’s first trip, back in my day when the all-star creative team of Chris Claremont, John Byrne, and Terry Austin were on a roll (though Byrne and Austin exited after the next issue). Some plot elements have been added or reworked to mesh with the previous films (well, with some of them, anyway), but this adaptation doesn’t stray as far from the framework as I expected, throws in a couple of new surprises, and tries to give its award-winners reasons to return to a crowded ensemble.

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So There’s a Scene During “The Wolverine” End Credits

Hugh Jackman, Rila Fukushima, The Wolverine

For the first 2½ acts, The Wolverine is an engrossing slow-burn psychological thriller about the crippling effects of grief, powerlessness, sin, rediscovering your life’s purpose, and stranger-in-a-strange-land culture clash, all nestled inside an outlandish but well-oiled martial-arts flick that easily outclasses the previous Wolverine solo film. That being said, this is a rare instance of a Marvel film that would’ve functioned more cohesively if super-villains had been kept out of it altogether.

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MCC Request Line #6: “Les Miserables”

Hugh Jackman, Les MiserablesWelcome once again to the Midlife Crisis Crossover Request Line, in which recommendations from MCC fans send me reading, viewing, and reviewing assorted art and art-like objects, either because they want a proxy to evaluate the damage, or because my life won’t be complete without seeing them. Today’s suggestion came from Niki, one of MCC’s most dedicated fellow Bunheads fans. (Believe it or not, I hadn’t forgotten!)

Today’s subject: The world-famous Les Miserables, the mammoth French novel turned immortal Broadway play turned Hollywood film (not for its first time), today nominated for twelve Academy Awards. Niki’s original suggestion was for any version of the tale, but for some reason our local big-box stores have yet to be flooded with copies of the previous Liam Neeson/Geoffrey Rush version. The touring version of the musical performed in Indianapolis at some point, but that was before I received the suggestion. Blame the timing.

What I knew beforehand: It’s a big, famous book. More people have probably seen the musical than read the book. I knew it had characters named Jean Valjean and Inspector Javert, whose cat-and-mouse routine was an early precursor to The Fugitive. A tiny girl was prominent in all the musical’s ads and best-selling merchandise. That’s really all I knew before walking in.

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