Entries in Hugh Jackman (51)
Did you watch the Tony Awards last night? The evening began with Hugh Jackman proving his physical fitness -- his knees get such a workout -- by hopping through his entire continuous shot production number, basically a tour of the backstage and upcoming performers in costume.
That led to a night of high energy but strange and touristy musical number choices like numbers from ancient top-selling shows (Les Miz and Wicked) rather than new ones that need the sales help and non-Broadway celebrities like Sting and Jennifer Hudson taking up a lot of room to sell shows that aren't even open. It'd be a bit like the Oscars going "how about Interstellar?" while giving prizes to Gravity back in March.
Hugh Jackman also rapped with LL Cool Jr via the famously chatty opening number of "The Music Man" Hugh Jackman has now spent 14 years of his career playing Wolverine and at this point he's really wasting his life (I mean once you have 100s of millions, what's 20 million more?). He needs to commit and make only movie musicals before he's too old.
Highlights and winners of the night after the jump...
[Editor's Navel-Gazing Note: I remind all readers upfront and as apology for this extraordinarily longwinded review that the X-Men are part of Nathaniel's actual soul, having clung to them like actual friends and role models for his entire childhood and adolescence. Other comics were mere 'entertainment'. The X-Men were the loves of his young life. - Nathaniel]
The most visually intoxicating character in the latest "When Mutants Collide!" movie is Blink (Fan Bingbing). She has very little dialogue, if any, but linguistic skill is not a mutation ("Hey now...," protests Cypher, who the movies will surely continue to shun). Blink's highly effective signature move involves tossed off pink teleportation portals which she, her teammates, and their enemies jump, run, stumble, fly or are thrown through. Think of it as Nightcrawler's disorientingly rapid teleportation, if it involved all characters in a scene and could be used malevolently against some of them.
In the very exciting opening battle sequence of X-Men Days of Future Past we see this power used frequently and awesomely as she helps her teammates (Warpath, Collosus, Storm, Iceman, Sunspot and more) to surprise, fight back, and evade (for a short time at least) their attackers, an army of mutant-killing robots known as The Sentinels. But these Sentinels learn quickly, and are very good at their job: killing mutants. The tides turn and a mutant massacre begins... or does it?
It's Mutant Week! With X-Men Days of Future Past, the 4th X-Men movie upon us nearly upon us -- Yes, fourth, shut up...Last Stand and both Wolverine solo movies do not exist...lalala ♪ I can't hear you -- we should celebrate Marvel's homo superior this week, even if we have to do so by way of 20th Century Fox.
Herewith a retrofitted piece celebrating my choice for "Best Shot" from the first movie. (If you'd like to play the Best Shot game, post your choice by tomorrow night and I'll link up in the index)
In some ways the original X-Men (2000) is a tentative and mediocre movie: the budget limitations are obvious, Halle Berry is as lost as you remembered (though Storm is a strangely minor character), and the central evil plot is just dumb. But in other ways it's undervalued and not just because of the downward spiral that followed after the sequel.
X-Men makes smart choices about narrowing its focus for a first film (centering on Wolverine & Rogue) and the one character it totally reimagines -- that'd be Mystique -- is a major success.
What's more director Bryan Singer actually makes use of the widescreen in his mise-en-scène. Too few filmmakers do, just shoving everything into the center of the frame or shooting everything in relentless close-up. Even action sequences are shot with a preference for top of head and chin shaving close-ups these days but, much like musical numbers, action sequences are more memorable and coherent when they include whole bodies in the frame. And even though Singer's compositional tricks get a bit repetitive, like the recurring out of focus introduction of characters in the background, which you can see above, they're aesthetically pleasing.
X-Men was lensed by Newton Thomas Sigel, who has shot all of Singer's movies since The Usual Suspects (1995). This is my favorite shot in the film, Wolverine lost in the X-Mansion, bewildered by the new sites. He sees his reflection multiplied, across the team uniforms. Isn't it a beauty, narratively speaking? And Jackmanically speaking, too.
What are your fondest memories of the first film?
In so many ways I wish Hugh Jackman could move on from Wolverine, the role that brought him enormous fame but which he has been performing for 14 of his 15 years in motion pictures. That's longer than virtually any TV star performs their signature role. And there are more years to come with at least one more solo film booked after X-Men Days of Future Past. Think of the movie musicals and wide variety of dramas or comedies he could have done in that time!
But, that said, Hugh Jackman always finds ways to become even more loveable (a tall feat given how adorable he started out) just when you're like 'enough, already!'.
Here he is one the BBC Radio 1's ‘The Matt Edmonson Show,’ performing "Wolverine: The Musical" by mixing his two signature roles (Logan & Jean Valjean) with his best role: himself.