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X-Men: The Last Stand

X-Men: The Last Stand (2005). 104 minutes, 20th Century Fox. Directed by Brett Ratner.

Normally I don’t bother writing reviews of things that I think suck. This is an exception. This movie stinks to high heaven, and should be avoided by anyone who enjoyed the first two entries in the X-Men movie franchise. It should also be avoided by anyone who has every read, or who was ever a fan, of the X-Men comic books in their original form. If you want to see Beast, Colossus, Angel, and Kitty Pride in action, just watch the trailer. You’ll get far more enjoyment from a preview than you will from this movie.

So why waste my time talking about a movie that reeks? Mainly because there is a kernel of a good movie in here. Watching the film, I kept feeling like I was watching an abridged version – plot points and characters are introduced (or sometimes just shown) and then dropped or ignored for the rest of the movie. Now, if you haven’t seen the movie, and don’t want to have it spoiled, stop reading, because I’m going to rip various parts of this film, including the pathetic ending and “surprise” end twist after the credits.

What was so good about the previous two X-Men movies was that you didn’t need to know anything about the series or the characters at all – the movies themselves explained everything you needed to know. The first, X-Men, is the best in this regard. The introductions of Rogue and Wolverine are detailed and perfect. The exposure to the other mutants later is likewise well done. In that film, each time a new mutant is shown, there is some clever exposition that lets you know what the character’s name is, what their power is, etc.

In X-Men: The Last Stand, forget it. For example, right away we see two of the new X-Men, Colossus and Kitty Pride. Colossus can turn himself into solid steel, is very strong, and is nearly indestructible. Kitty Pride can “phase” through solid matter, and can do the same to anyone or anything she touches. In this film, neither character gets an introduction or description. Colossus doesn’t even get any lines, and his character is never even named in this turkey. If you’ve read the comic books, you’ll catch the throwaway references to “tin man” and him throwing Wolverine through the air, but otherwise you’re lost. To illustrate this, I watched this movie with Frank, who’s never read a comic book period. At the end, he said, “So who was the shiny guy who never said anything?” I described Colossus, and he said, “Well, that sounds kinda cool. Too bad they didn’t say anything about any of that…”

We needed a nice exposition where Professor X or Storm or somebody describes them and tells what they do. No way, Jose. The films does a slightly better job of introducing some of the new evil mutants, but only very slightly. Juggernaut (who was, as near as I can remember, not a mutant at all but some sort of guy in a mystical or bewitched costume) is particularly laughable – the phony “muscle suit” they have the actor wearing looks about as real as Hans and Franz (the “pump you up” guys) on Saturday Night Live. Come on – in Los Angeles, they couldn’t find a real bodybuilder somewhere to do the part? They have to put some guy in a rubber muscle suit? I mean, there are at least two shots where you can actually see wrinkles in the rubber. Jamie Madrox, the Multiple Man, is also introduced in a cute visual – although, like Colossus, he is never named.

The mutant cure, which the whole plot hinges on, also makes no sense at all. It’s established early on that some kid (never named) has a mutant power than cancels out other mutant powers. However, it is also clearly shown that his power is only temporary and very localized. In a throwaway line, an unnamed doctor tells us that the cure is based on this kid. Another mutant tells Magneto, “They got nothing without him”. So, I keep thinking, the cure isn’t real then. But it is. What connection does the cure have with the kid? No idea. Even after the X-Men free the boy and take them with him, the cure still seems to work just fine. So – why did they need him? No idea. The whole ending of the movie is about a battle between the good mutants and the bad mutants for the possession of this kid – and yet it doesn’t make any difference. All the people who got “the cure” are still cured. It appears that all of the chemical or whatever worked just fine, without needing the kid’s presence. At then, at the end of the film, we see this same kid now at the Xavier school! Huh? Wouldn’t he cancel out all the other’s powers?

The whole captured mutant kid and cure aspect is completely nonsensical, even within the constraints of this film. Towards the end, Frank threw up his hands and said, “This doesn’t make any sense at all. I have no idea what is going on or who any of these people are”. Even though I knew who most of the people were supposed to be, I had to agree with him – it made no sense.

The other main story is the resurrection of Jean Grey as Phoenix. I actually liked the explanation for Phoenix in the movie better than the comic book concept. Now, here’s why I’m mad at this movie. In the Phoenix scenes, you get a feeling for how this could have been a pretty good movie. Famke Janssen pulls off the Phoenix transformation quite effectively, and the scenes where she’s doing her thing are great. But then, the “cure” storyline takes over, and for the rest of the film she just walks around next to Magneto, doing nothing… until the very end, when for no reason at all, she lets loose again.

My next beef is with Angel. He is introduced with great fanfare, in a fairly neat scene at the beginning. The actor playing Angel, Ben Foster, is, I’m sorry to say, not quite right. Angel is supposed to be drop-dead handsome, and this guy looks kinda like a weasel. Yeah, he’s blond and he’s got decent abs, but he’s no Warren Worthington III. But anyway – after Angel flies away (the scene you probably saw in the trailer), that’s it – until over an hour later, when he shows up at the school, asking if he can stay. Then, at the very end, he suddenly reappears to swoop down and save his father. Huh? We last saw him at Xavier’s school – which is in Westchester County, New York, on the east coast of the United States. Suddenly, he’s in San Francisco, at Alcatraz, with no connection to anyone else. He didn’t travel with the X-Men on the jet… and we never saw him after that one scene. How did he all of a sudden magically appear during the final battle, only to do one trick and then vanish again? Pathetic.

And what’s with all the characters getting killed off? I mean, if they don’t want to do any more movies, they can just have moved away. In the comic book, the cast of the X-Men was always changing, and somethings they died (but, in true comic book form, always came back). But this is ridiculous! Cyclops is killed off screen. The last we see him, he’s kissing the newly revived Jean. And that’s it. Later, Wolverine asks “Where’s Scott?”, and she says she killed him. We never see him die, not even in flashback, not even a description of what happened. He just… goes away. Jean Grey/Phoenix did many things in the comics, but she never killed Cyclops.

The next to die is Professor X, although of course he reincarnates in the sneak “surprise end” after the credits. This is telegraphed early on, when the professor shows a video of a man “born without any brain or higher nerve functions” lying in a bed. Naturally, the perfect vessel for his mind after Phoenix destroys his body. If Patrick Stewart didn’t want to do it anymore, why the dumb reincarnation? It smells of “The Search for Spock” all over again.

Finally, the death of Phoenix/Jean Grey. What? Wolverine just… stabs her with his claws and she dies? After we’ve seen her rearrange matter, shred people in their very atoms, etc? You can’t set up a basic indestructable character – “the most powerful mutant ever”, in the movie’s own terms – who can die by simply being stabbed. In the original comic book, the only thing that could kill the Phoenix was… herself. She committed suicide, since she was the only thing powerful enough to kill herself. (Yes, I have been told that she was resurrected many times since, but the basic premise still holds).

This movie really, really annoyed me. There was such great potential here. A basically good cast, good characters, and the template for at least one or two good stories. And it’s just all thrown together in a blender. Honestly, it’s like there was no script review at all. It’s just some story ideas thrown in with some dialogue. The casting for some of new X-Men is very good. Kelsey Grammer is absolutely perfect as Beast, and is surprisingly good in the action sequences. Ellen Page as Kitty Pride also seems quite good. And as I mentioned previously, Famke Janssen does a great turn as the Dark Phoenix version of Jean Grey.

What annoys me the most is that this piece of crap is the most successful of all three of the X-Men movies to date, all but ensuring that there will be another. I probably won’t see it. I suggest you don’t see this one, either. If you like X-Men, read the reprints of the comic book. At least they make sense.

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Audio Visual

United 93

United 93 (2006). 111 minutes, Universal Studios. Directed by Paul Greengrass.

I hadn’t really given this movie much thought when it came out in theaters a few months ago. On 9/11/2001, I remember saying that it would probably be at least five years before they made a movie about it. My prediction seems to have been about right, since both this and World Trade Center came out this year. I haven’t seen World Trade Center yet (it’s not out on DVD, and I haven’t seen a movie in an actual movie theater in quite a while), but I just watched United 93 tonight. Wow.

This is a gut-wrenching movie. It’s very well done – it does not seem exploitative in any way, just gripping. We all know the story, so no point in going into it here. What’s so good about this film is how the filmmakers interweave what is going on around the country – the crash of two planes into the World Trade Center, the crash at the Pentagon, the communications at air traffic control and military command centers – in conjunction with what is happening to the passengers and hijackers on United Airlines Flight 93 at the same time.

Despite the fact that I knew exactly how it would end, my palms were sweating half an hour into the movie. I kept wanting to scream “Move! Get going! Kill them now!”, etc. The film makes no political statement or comments at all. Its power arises from the fact the it takes the viewpoint of all the people involved who were simply doing their jobs that day. Watching the FAA and the air traffic controllers grapple with the enfolding situation was particularly emotional. They figured out pretty quickly what was going on, but there was nothing they could do about it. Watching the military, doing everything they could to get planes in the air to intercept the hijacked flights, was also extremely compelling.

The acting is superb. I didn’t recognize any of the actors, and that works very well for this movie. There was not a single performance that struck even a slightly wrong note. Everyone disappears into their roles so effectively that it almost feels like you’re watching the best behind-the-scenes footage ever shot.

If you’re one of those who feel it’s “too soon” for this kind of motion picture, I encourage you to think again, because this really is worth seeing. As you can imagine, this is definitely not a “feel good” type of movie. I would encourage you to watch it in a single sitting with minimal pauses… the momentum is constant, and there are no breaks in the story.

Five years after the fact, it’s worth remembering how true heroes acted on the day of 9/11 itself. Watch this film, and you’ll find yourself pulled into the web it weaves. It’ll help you to forget, at least for a few hours, all of the lies and horrors that have been visited upon us by our leaders ever since that fateful day.

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Audio Visual Politics

Why We Fight

Why We Fight (2005). 98 minutes, Sony Pictures Classics. Directed by Eugene Jarecki.

This is a Great Film. I don’t mean that in a “wow, this is cool!” kind of way. Nor do I mean it has great acting, or is likely to win an academy award, or anything like that. I mean “Great Film” in that this is what a documentary is supposed to be like. This is a riveting, 98 minute tour through history, democracy, and war. Although if you need awards to help convince you, well, it did win the Grand Jury Prize at the Sundance Film Festival in 2005.

I bought this movie on DVD without having seen it before, or really even knowing what it’s about. I had read some snippets here and there, and I had gathered that it was some sort of historical piece about Dwight Eisenhower. I remember that Eisenhower had warned about the military industrial complex, and I knew this movie was more or less about that.

Why We Fight is indeed about that, but it’s also about much more. The film begins and ends with Eisenhower’s farewell address, presented a week before he left office, on January 17, 1961. It is a powerful speech, and presented on-camera by a man who obviously speaks from the heart about what he knows. If I’m not mistaken, Eisenhower was the last career military man to serve as President of the United States – it has been 45 years now that we have had a civilian commander-in-chief.

Here is the key part of Eisenhower’s speech, where he coined the phrase “military industrial complex”:

In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex. The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes. We should take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals, so that security and liberty may prosper together.

The rest of the speech is just as good. I highly recommend reading the speech in its entirety.

Why We Fight then goes back and forth in history, using “talking heads” from the military, the CIA, students of history, and everyday people. The premise is relatively simple: For each of the various wars (or engagements, or police actions, etc) that we have fought since World War II – why did we fight? What was the reason? What did we win or lose? Were we in the right, the wrong, or unknown?

Each expert has a slightly different answer, but surprisingly, they all equate to the same thing: We fight because it is part of our culture. It is The American Way. We don’t negotiate, we don’t see subtleties, and most of all, we don’t worry about what will happen in the future because of our actions today.

In fact, as testimony from CIA officials and military students both confirm, every single engagement we’ve been involved in since 1945 – including Iraq – has been of our own making. We created Iran, by deposing its democratically elected leader in the 1950’s and replacing him with the despotic Shah. We created Iraq, by backing Saddam Hussein and supply him with money and weapons to fight Iran. Each time, we have ignored the “blowback” that will be caused in the future by our actions today.

We fight because it’s business. Money. Huge corporations like Boeing, Halliburton, and KBR exist almost solely to supply the government. They have business involvement in each and every one of the 50 states. Jobs depend on it, lots of jobs. Although the film never comes out and says so, I think it’s very interesting that this whole scheme – put in place to fight communism – is the closest thing we’ve got to actual communism today. After all, what is communism? State-sponsored, state-subsidized business. And just what are Halliburton and all the other military contractors? They exist, and they employ thousands of people, solely based on taxpayer money. We pay our taxes to the government, the government uses that money to pay the contractors, and the contractors pay their employees who pay the taxes… and around it goes.

I’ve seen some comments around the internet that liken this film to Fahrenheit 9/11. I don’t see it myself. I thought Fahrenheit 9/11 was just shrill anti-war propaganda, pure and simple. (As a side note, I also think Michael Moore is an A #1 asshole… but that’s a different point, I suppose). Whereas Fahrenheit 9/11 is smug, sarcastic, and snide, Why We Fight is engrossing, human, and intelligent. Both films make a point – but Moore’s film is a crudely disguised campaign commercial, and Jarecki’s is a masterpiece of documentary filmmaking.

Buy, rent, or watch this film. It’s very, very good. The stories intertwine in a seamless, almost organic fashion. If for nothing else, watch the story of retired firefighter Wilton Sekser, whose son died in one of the Twin Towers on 9/11, and how his support for the “war on terror” eroded as the lies and corruption behind it were exposed.

The film ends with a statement from Lt. Col. Karen Kwiatkowski (retired). Col. Kwiatkowski resigned from the Army, and left her post as an analyst at the Pentagon, because she could no longer stomach supporting the intelligence lies that were necessary to sell the war in Iraq to the Amercian people:

I think we fight because basically not enough people are standing up saying, “I’m not doing this anymore.

Let’s all stand up and say… we’re not doing this anymore. There are better ways to make a living. And there are better ways to live.

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Audio Visual

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