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I'll state my credentials up front: I'm a chick. I have read X-Men
comics in my past, but it's been years. I don't remember every detail
of every relationship and back story, so I'm not a huge X-men expert. I
LOVED the original X-Men movie and X2.
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I was so excited when I heard they were making a Wolverine movie. He
and Gambit were my two favorite characters from the comics, and
Wolverine was by far the best written and one of the best acted
characters in the X-Men franchise. I thought, "This should be good!" I
counted down the days until it came out. And I went to the theatre, and
came out not disappointed, but not excited either. It was a
middle-of-the-
be. But I would say go see it if you're an X-Men or Hugh Jackman fan.The main crime committed in Wolverine is in the writing. I always say
writers don't get enough credit on a good movie. But no amount of good
acting (pretty much everyone in Wolverine does well with what they're
given) and okay directing can cover up crappy writing like this. The
script was all over the place. It didn't have any of the jaunty yet
edgy feel of the first two X-Men movies. Wolverine'
smart wit were all but forgotten. That would've maybe been okay if they
had chosen to make Wolverine the dark, nearly evil character that he
was supposed to have been before he lost his memory. But they didn't.
He was neither good nor evil. This was ambivalent Wolverine. Kind of
Emo Wolverine. Not above doing bad, but not really into it because it
made him Feel Bad. No really interesting lines or plot points either
way. The writers didn't seem to even know how to develop the
relationship between Wolverine and Sabertooth. And was the love story
put in by the studio just to satisfy us chicks who wouldn'
comic-book movie without it? If so, the studio did us a great
disservice, because if you wanted to make a story about Wolverine the
lover (which, hey, I would go see), this movie wasn't that either. And when I saw in the trailer that Gambit was in the movie, too, I was
thrilled! Gambit in a movie, at last! But here he is, the
underdeveloped and kind of confusing Gambit. Couldn'
had his New Orleans accent? The cards were cool, but he was mostly
underutilized and didn't feel like Gambit that much.The movie does have some good moments in it where you actually say,
"Yes!"
for me, they made the movie worth seeing. While I wouldn'
anywhere on my worst-movie list, I wouldn'
on my favorites list, either.
All of the X-Men movies were great. And I mean all of them, including
the long hated X-Men 3. They had solid characters (Magneto and Xavier
were the best ones, in my opinion), and a good story arch.I was all excited when I heard this movie was on production, and my
expectations grew bigger and bigger until I saw the movie. I was so
disappointed.Hugh Jackman is not a bad actor (his best movie is The Fountain,
although you won't hear about this movie when they talk about the
actor), and his acting is not what screws the movie up.The whole film is plagued with lots of meaningless characters that add
nothing to the plot (like Blob or Gambit), which were tossed there to
make fans believe that the film makers had read the original comics.I am a fan of XMen, I have read many, many of their stories and this
movie respected none of them. None. Not even the continuity. It doesn't
respect Weapon X project, or the relationship between Wolverine and
Sabretooth, or Emma Frost, the motivations for wolverine are plain
stupid and seen in millions of movies: Revenge for the death of a loved
one.Oh. What I was expecting the whole darn movie was a Berseker moment for
Wolverine similar to the one he has in X2 in the school when Stryker
men come in and he alone decimates the enemy forces, but hey, this is
Fox, this a family flick and you will not see explicit violence from
the most violent and gruesome Marvel hero.Besides, I had a feeling of constant dejá vù with this movie because
Wolverine'
got his adamantium skeleton so it kind of does not make sense to make a
movie of something we already know.I personally believe that wolverine is one of those few characters that
does not need a solid back-story because mystery is the nature of the
character. Do we really want to know how the Joker got his scars?
Like fellow 2009 superhero release Watchmen, Wolverine is that rare
comic book film which almost appears inevitably more likely to please
audiences that are not fans of the source material. However, unlike
Watchmen, which adhered so closely to its source material that a
falling short by comparison proved inescapable, Wolverine'
backlash of fan outrage stems from its flagrant disregard for its
source material. The film casually mutilates and re-writes the comic
book context of its source material with the cold disdain of its
protagonist, hacking one of the most genuinely compelling, subversive
and horrifying superhero back-stories into the worst kind of safe,
familiar, PG rated commercial dross. All of Wolverine'
comic book edginess is distilled into a flaccid script which forgoes
exhilaration for only occasionally impressive fight/chase/
scenes, complexity for eye-rolling cheese and broad humour, and story
cohesion for an attempt to cram in far too much subject matter and
avoid the true dramatic meat of the story. While further focus on the Wolverine/Sabertooth dichotomy could have
yielded a narrative volumes stronger, the film continually broadens its
scope, seemingly attempting to bank on the in-jokey winks to fans of
the comics by hinting at broadening the Marvel universe in further
sequels demonstrated in 2008's Iron Man and The Incredible Hulk. But
while their fan nods were tasteful and enjoyable, Wolverine'
at matching them appear to be building up to an almost sinister bid for
Fox's superhero franchises to compete. Recognizable X-Men characters
are continually shoehorned into minuscule parts (fans of Deadpool,
Blob, Gambit or, *groan*, Cyclops don't go in expecting much but
disappointment)
Wolverine'
overflowing mass of secondary characters only serves the dual purpose
of both derailing Wolverine'
comic fans clamouring to see their favourite characters on screen, as
the fleeting, shallow depictions hardly prove satisfying character
development by any stretch of the imagination. If the filmmakers choose
to tackle established characters to appease fan expectations, doing
nothing with the characters (let alone doing them far from 'properly')
hardly seems a suitable way to satisfy a demanding audience. Director Gavin Hood (known for excellent African drama Tsotsi of all
things) has been vocal about his clashes with the studio over the film,
and one can only assume, given his excellent credentials, that most of
his proposed changes would have been for the better. As it is, Hood
demonstrates a shaky directorial presence at best, masking his action
scenes in whirling cameras making it near impossible to see, and
complimenting most tense or dramatic scenes with a cascade of Harry
Gregson-Williams' tiresomely banal and clichéd
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