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Yes I'm having a good night, thank you
In spite of X2 being my favourite superhero film ever, I had an utter absence of plans to go see X-Men Origins: Wolverine - but when a friend invites you along for free, to a cinema that's a pleasant walk away on a nice evening...well, that's a different matter, isn't it? Plus, I was in a position to empathise, given I am currently in the midst of a procedure to bond metal to my skeleton (I have a temporary filling) performed by someone I don't entirely trust (a dentist) and which is likely to affect my memory (she also prescribed me some antibiotics on which I can't drink). And...it's OK. If you want a big dumb action film, or a film with naked Hugh Jackman scenes, I can wholeheartedly recommend it. But if you are likely to object to a character we see hunting by scent, being fooled by fake blood...well, that's not the only plot hole, but it's the big one. In terms of Marvel fidelity, I heard the Deadpool groupies were up in arms, but the treatment of him, while loose, made more sense than I'd expected - though I should admit I have never carried much of a brief for him beyond the Ultimate Alliance game and the odd cameo in other people's comics. Even the first issue of his new Mike Benson miniseries didn't wow me, and I love Benson's Moon Knight. Anyway, it was the splitting/softening/general WTF-ing of Emma Frost to which I'd object, if I were going to make that sort of objection, but really I more minded that sappy story which explains why he's called Wolverine, and the amount of 'NOOOOOO!' emoting Jackman gets through. And if it's Marvel nods you want...well, having all the mutants needing a rescue from an island was a nice touch. Conversely, they had the sense to ditch some of the crap that's accreted around Wolverine's once-mysterious background like liquid adamantium around a bone; the whole of the original Origin mini deserved to be relegated to the pre-credits, and thank heavens there was no mention of Daken or Romulus.
What else was good? Liev Schreiber (an actor I've always thought very underappreciated) had the presence to make Victor/Sabretooth work - and Sabretooth's a character who's very easy to do in a very boring fashion. Gambit was spot on. And the opening credits...well, it was basically the same trick as the opening credits of Watchmen, except ONLY WAR. I'd love to know whether that was steal or coincidence. But the basic problem is, without messing up the logic of the original films, we all know there's no way that Logan can get closure with either of his main adversaries in this film. So you get that vaguely anticlimactic ending one expects from films where there's a sequel coming, except the sequels happened a few years back...
On the way back, I realised that while I'd walked that route home dozens of times, I wasn't sure I'd ever done it sober. And on my MP3 player I was listening to two new loads, added before the antibiotics were prescribed, but which I realised were both by straight edge artists - The Streets' new stuff, and The Melting Ice Caps. Which, sat by the war memorial listening to 'A Good Night', helped reassure me that this week off liquor isn't a chore, it's a novelty. Because frankly, I am better than Duck Phillips.
I read Alfred Bester's Tiger, Tiger* years ago, and didn't really appreciate it; I suspect I may have been too young. Certainly it would have been before my Babylon 5 phase, so while I appreciated that it was the source of the name for Walter Koenig's sinister psychic, I didn't really grasp *why*. Now I'm finally reading The Demolished Man, in which one man attempts to get away with murder in a world where telepaths are a fact of life, and it makes perfect sense. The whole Babylon 5 treatment of psychics, from the oppressive Psi Corps in which they're all obliged to be members, to their interactions with each other and the rest of humanity - it all comes from here. In terms of predicting the future, well, this does so a lot less well than most of its fellows in the (excellent) Masterworks series. But as an evocation of paranoia, and of what telepathy might feel like both for the gifted and the blind, it's astonishing - and the increasingly outlandish stratagems by a killer and a detective who both know the truth, but can't yet act on it, remind me of nothing so much as Death Note. Less sexually charged, though, in spite of one key scene being set at an orgy.
I think I may have been driven to investigate by Michael Chabon mentioning that Howard Chaykin adapted The Demolished Man in his introduction to Chaykin's own American Flagg!. Which, again, I should really have investigated sooner. Deranged pulp futurology, it's the closest I've ever seen an American come to the early days 2000AD, except unlike 2000AD back then, the 'thrill power' here encompasses sex as well as violence, nihilism and insane technology. Something 2000AD has picked up on since, of course - even down to Nikolai Dante appropriating Reuben Flagg's 'Bojemoi!'
*So my father's edition called it, but the battle of the titles seems, in the intervening years, to have been comprehensively decided in favour of its alternative, The Stars My Destination.
What else was good? Liev Schreiber (an actor I've always thought very underappreciated) had the presence to make Victor/Sabretooth work - and Sabretooth's a character who's very easy to do in a very boring fashion. Gambit was spot on. And the opening credits...well, it was basically the same trick as the opening credits of Watchmen, except ONLY WAR. I'd love to know whether that was steal or coincidence. But the basic problem is, without messing up the logic of the original films, we all know there's no way that Logan can get closure with either of his main adversaries in this film. So you get that vaguely anticlimactic ending one expects from films where there's a sequel coming, except the sequels happened a few years back...
On the way back, I realised that while I'd walked that route home dozens of times, I wasn't sure I'd ever done it sober. And on my MP3 player I was listening to two new loads, added before the antibiotics were prescribed, but which I realised were both by straight edge artists - The Streets' new stuff, and The Melting Ice Caps. Which, sat by the war memorial listening to 'A Good Night', helped reassure me that this week off liquor isn't a chore, it's a novelty. Because frankly, I am better than Duck Phillips.
I read Alfred Bester's Tiger, Tiger* years ago, and didn't really appreciate it; I suspect I may have been too young. Certainly it would have been before my Babylon 5 phase, so while I appreciated that it was the source of the name for Walter Koenig's sinister psychic, I didn't really grasp *why*. Now I'm finally reading The Demolished Man, in which one man attempts to get away with murder in a world where telepaths are a fact of life, and it makes perfect sense. The whole Babylon 5 treatment of psychics, from the oppressive Psi Corps in which they're all obliged to be members, to their interactions with each other and the rest of humanity - it all comes from here. In terms of predicting the future, well, this does so a lot less well than most of its fellows in the (excellent) Masterworks series. But as an evocation of paranoia, and of what telepathy might feel like both for the gifted and the blind, it's astonishing - and the increasingly outlandish stratagems by a killer and a detective who both know the truth, but can't yet act on it, remind me of nothing so much as Death Note. Less sexually charged, though, in spite of one key scene being set at an orgy.
I think I may have been driven to investigate by Michael Chabon mentioning that Howard Chaykin adapted The Demolished Man in his introduction to Chaykin's own American Flagg!. Which, again, I should really have investigated sooner. Deranged pulp futurology, it's the closest I've ever seen an American come to the early days 2000AD, except unlike 2000AD back then, the 'thrill power' here encompasses sex as well as violence, nihilism and insane technology. Something 2000AD has picked up on since, of course - even down to Nikolai Dante appropriating Reuben Flagg's 'Bojemoi!'
*So my father's edition called it, but the battle of the titles seems, in the intervening years, to have been comprehensively decided in favour of its alternative, The Stars My Destination.
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And why, pray, does everyone start calling him Logan about a third of the way in for no apparent reason? I guess that went on the cutting room floor too. And when he's having his big throwdown with Deadpool and is suddenly halfway up a massive cooling tower - why dat den? And Deadpool's mouth? Really? They couldn't get Ryan Reynolds to dub the dialogue? The first 20 minutes were top-notch and it was pants thereafter, but lolarious pants.
Which post-credits ending did you get
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I know that their names are James Logan aka Wolverine and Victor Creed aka Sabretooth, so switching between that doesn't really register as a problem for me. Deadpool's mouth being sewn up made perfect sense given Stryker's earlier objection to him talking all the time. And we did see Wolverine climbing up the cooling tower, although *why* is quite another question. Because he knows he can survive the fall but thinks maybe Deadpool can't?
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Wait, what?
Re: Wait, what?
Re: Wait, what?
Re: Wait, what?