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X-Men Origins: Wolverine

Rated: PG-13
Release Date: 2009-05-01
Starring: David Benioff
Director(s):
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Film Genre:
Country:USA
Official Website: http://www.xmenorigins.com/

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Is the bootleg online version of ‘X-Men Origins: Wolverine’ better than the cinematic experience? If you already saw the illegal downloaded version, should you spend your money to watch it in a real movie theater? I personally haven’t seen the unauthorized edition, but from the feedback I’ve received from those who have and with my take from the theatrical version – yes, you should see it in theaters only if you enjoyed what you saw. It would enhance the experience that director Gavin Hood intended to originally put forth, but, if you didn’t like the story to begin with, odds are you won’t like it after you see in the big screen.

‘X-Men Origins: Wolverine’ is set prior to the events of the original X-Men films, sometime in the 1970s. It begins principally with Wolverine and partially with a few other legends of the X-Men universe. Some highlights include characters and story lines that have been long anticipated. The movie also explores Logan’s romance with Kayla Silverfox. Kayla’s fate triggers Logan’s involvement with the ominous Weapon X program, a top secret, billion-dollar military experiment, in which Wolverine obtains his indestructible metal skeleton.

The film had several problems ranging from blatant gaps in the story, underwhelming performances by new characters, to the unacceptable, second-rate CGI effects throughout the film (in particular a cameo done by a CGI Patrick Stewart). Unfortunately, these critical factors in particular, were too distracting for me to overcome. In its defense, there were many laudable moments such as Hugh Jackman’s performance of Wolverine (I can’t see anyone else ever playing him) and Liev Schrieber as his archenemy brethren, Sabretooth. Ryan Reynolds, who has been bashed by some bloggers for being casted as Deadpool, was likable in playing the wise cracking sword killer.

Overall, you have the good and the bad making ‘Wolverine’ an average film. Brett Ratner’s “X-Men: The Last Stand” turned out to be a better films on all levels. On a separate note, watch out for two clips after the credits, one scene immediately after the credits begin and the other at the very end of all the credits. These will reveal some of what may come in the next sequel.

Monday Box Office: "I Can Do Bad All By Myself" is #1!

Incandescent filmmaker Tyler Perry’s latest family comedy “I Can Do Bad All By Myself” opened in the top place in North America’s ticket booths this weekend, with an estimated 24 million dollars in ticket sales during three days beginning Friday, preliminary estimates provided by North American boxoffice authorities Sunday show.

The PG-13 rated Lionsgate film was Perry’s second number one debut of the year, and the fifth among his eight movies released in just 4 1/2 years. It leads a pack of weak contenders during the traditionally one of the most sluggish weekends. Adopted from one of Perry’s plays, the film tells the story about an alcoholic singer who finds healing in church and family. Madea, a pistol-packing granny, has become a phenomenon with the screening of Perry’s latest two films, with the first being “Madea Goes to Jail,” which opened to a personal best of 41 million dollars in February. His low-budget films have been especially popular among black women moviegoers. He was rated one of Hollywood’s top ten money makers in 2009. With the debut of this hilarious flick, he is destined to continue with his golden trail.

“9 (Animated)” debuted in second place, with an estimated 10.9 million dollars in sales. The film, an animated sci-fi/action film from Focus, is a post-apocalyptic tale of some creepy-looking rag dolls. It got an early start on the competition by opening on Wednesday, and its total stands at 15.3 million dollars. Based on Shane Acker’s Academy Award-nominated short film of the same name, it is directed by Acker and produced by Tim Burton and Timur Bekmambetov, and stars Elijah Wood, John C. Reilly and Jennifer Connelly.

The WWII saga “Inglourious Basterds” from Weinstein Co. and featuring Hollywood’s top headliner Brad Pitt, slipped one place to third standing. It has fetched 6.5 million dollars this weekend and grossed a total revenue of 104.3 million dollars over four weeks.

Rounding out the top five films in North America over the weekend are: “All about Steve,” a comedy produced by Sandra Bullock from Fox debuting with 5.8 million dollars, and 21.8 million dollars over two week; “The Final Destination,” a horror flick from Warner Bros., with 5.5 million dollars this weekend and58.3 million dollars over three weeks after standing two weekends in a row as number one.

Sin Nombre

Rated: R for violence, language and some sexual content.
Release Date: 2009-03-20
Starring: Cary Fukunaga
Director(s):
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Country:Mexico, USA
Official Website: No disponible.

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The dream is reaching America. The nightmare is undertaking the journey to get there. But you know your current circumstances aren’t too promising when New Jersey is represented as a paradise. Writer/director Cary Fukunaga’s film is about illegal immigration only on the surface, and almost none of its running time transpires within the boundaries of the United States. Instead, it’s about the factors that cause some individuals to risk incarceration, deportation, and even death for a chance to cross the border and escape cycles of poverty, disempowerment, and gang violence.

 

Sin Nombre opens by establishing characters who are separated not only by geography but by culture as well. Sayra (Paulina Gaitan) is about to embark on a journey with her father and uncle from her homeland of Hondouras across Mexico into Texas then to New Jersey. The trip is expected to be long and fraught with difficulties but seems to offer more to the young woman than would be available if she remained at home. Meanwhile, north of Sayra in Mexico, Willy (Edgar Flores), nicknamed “Casper,” is a gang member involved in the indoctrination of a new recruit, 12-year old Smiley (Kristian Ferrer). Willy’s gang, led by the fearsome, multi-tatooed Lil Mago (Tenoch Huerta Mejia) is preparing to go to war with a rival group. When Willy lies to Lil Mago about his whereabouts one day – he was spending time with his girlfriend, Martha Marlene (Diana Garcia), instead of helping Smiley make his first kill – the first seeds of a tragedy are sewn. This tragedy will result in Willy and Sayra meeting.

 

Sin Nombre packs an amazing amount of material into a little more than 90 minutes of screen time and, in the process, presents a pair of well-developed characters. Willy’s life is more fully fleshed out than Sayra’s, but that makes sense in the overall scheme of things. The film’s narrative thrust is about Willy finding redemption and making a spiritual trek that parallels his physical journey. Willy has sins to atone for and, when an action closes off a return to his old life, he must cope with his present circumstances. His legacy, as represented by his protégé, Smiley, illustrates why gang influence is so difficult to break. For underdogs and outcasts, participation in a gang provides an opportunity to be respected through fear and intimidation. It’s a brotherhood or sisterhood for children who have no siblings.

 

Although crossing into Texas represents an impediment, Sin Nombre is more concerned with the difficulties and dangers that arise before that climactic part of the trip. In order to make it to the United States, Sarya must evade capture, injury, and death in Mexico. When she meets Willy, her chances of success increase but so too does the possibility that she will become caught in crossfire, the unfortunate victim of being in the wrong place at the wrong time.

 

The film’s director, American Cary Fukunaga, is making his feature debut, and it’s a stunning one. His presentation of details about the trip to the north made by so many along the Mexican railroads evidences the verisimilitude of someone who has investigated the process. Trains become mobile ramshackle villages for wanderers who spread out on boxcar roofs huddled under plastic garbage bags and cluster inside the cars around carefully controlled fires. And when the train pulls into a station where there are known to be inspectors and border guards, the “passengers” get off before the stop is reached, race around the station, then re-board on the other side. The trains don’t move fast but they cover a lot of ground and save the legs and feet of many nomads.

 

One senses that Fukunaga had at least two points he wanted to highlight by telling this story. In the first place, Sin Nombre illustrates the power and terror associated with gang-related violence, something that is on the rise in Mexico and has recently been in the news. Secondly, Fukunaga offers a perspective of some of the tribulations undergone by illegal immigrants. Sin Nombre does not take a “pro” or “con” stance on the issue, but shows that many who embark upon the crossing do so only after enduring hardship.

 

The two young leads, Edgar Flores and Paulina Gaitan, provide believable performances, with Flores’ being a little more eye opening that Gaitan’s. This is due in part to the range of emotions circumstances force upon Willy. Flores is never anything less than completely natural. The chemistry between the two is effectively understated. They do not fall in love in the conventional sense but they come to rely upon and care for one another. What happens at the end may be inevitable but the characters react to it in exactly the way one expects given the manner in which their relationship develops.

 

Ultimately, Sin Nombre is not a happy motion picture, although it’s not a complete downer (it concludes on a hopeful note). It moves rapidly and there’s quite a bit of tension. In the end, the average viewer will feel as if he or she experienced something rather than acting as a mere observer of characters going through the motions. This quality, coupled with the intelligence and perspicacity of the screenplay, makes Sin Nombre more substantive than the average thriller/road movie.

Sugar

Rated: R for language, some sexuality and brief drug use.
Release Date: 2009-04-03
Starring: Anna Boden, Ryan Fleck
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.sonyclassics.com/sugar/

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Sugar is about being a stranger in a strange land, when the strange land is America. It’s about the point where ambition falters and reality kicks in. And it’s about baseball – in that order. The established fantasy of the sports movie is confronted with some pretty harsh facts here, about the tiny minority of players both good enough and lucky enough to make it professionally. That customary certainty that all will come good, that the crowd will roar and the music will swell at the bottom of the ninth inning, is anything but a given.

 

Writer-directors Anna Boden and Ryan Fleck pulled off something similar with their first film, the teacher-student drama Half Nelson, by loading it with a subtler freight than that particular genre is usually asked to carry.

 

They are becoming a distinctive team and a valuable one – their stories have clout, their style is lean and forceful. They borrow a formula and adapt it into something real.

 

We have certainly seen the journey of “Sugar” Santos (Algenis Perez Soto) before, or journeys like it: he is a star pitcher in the Dominican Republic, given the chance to join an American training academy for a shot at major-league success. He sends money back home to his family, while impressing the selectors enough to be installed as a fixture in minor-league Kansas City. Sugar’s time there has its ups and downs – a knee injury at the worst possible time, a flirtation with performance-enhancing drugs. As he’s told at the start, there are hundreds of players above him who have already proved themselves, and hundreds below – many of them Dominicans – jostling for a chance to take his place.

 

There are clichés strewn in this this film’s path like unexploded landmines, but weaving their way past them isn’t Boden and Fleck’s only achievement. They dig away honestly at the relationship between effort and success, one that most movies distort in one direction or the other. To try, to fail, to try some more: this never feels like a pre-determined tract about the struggles of a homesick immigrant, and Sugar, winningly played by the complete newcomer Soto, isn’t a cut-out ingenu but a testy, competitive, driven but fallible person. The road he follows is modest, but the film is beautiful and searching in letting him find it for himself.