News for today's 2018

Hugh Jackman will again become a Wolverine

12:29 AM Tukiyooo 0

<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGK8lv10hd53PSt4tg6fDT3s8gU1QKAy8GF-tuw5TA4u11Y6oPKKdcSooE92B3EXPIk7G5NfSyTWj_2y111f_lyrei9DK_siC6apZTtTFZmmNxfHttYtPiYI9LX5WS5VFhfRyWZQIVyNg/s1600/Hugh+Jackman+will+again+become+a+Wolverine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Hugh Jackman" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGK8lv10hd53PSt4tg6fDT3s8gU1QKAy8GF-tuw5TA4u11Y6oPKKdcSooE92B3EXPIk7G5NfSyTWj_2y111f_lyrei9DK_siC6apZTtTFZmmNxfHttYtPiYI9LX5WS5VFhfRyWZQIVyNg/s1600/Hugh+Jackman+will+again+become+a+Wolverine.jpg" /></a></div><br />It was learned that the Hollywood star Hugh Jackman is going to star in  the sequel to the movie actor fresh "Wolverine: The Immortal". <br /> <br /> Authoritative publications have reported that 45-year-old Hollywood  actor re-appear on the screens of the world in the image of the  principal and, one might say, turning the character of his career. The  plot has been kept secret, but it is expected that the sequel will be no  less exciting than the last part, which appeared in the car this  summer. <br /> <br /> Also learned that on this adventure of Wolverine's not  over. In 2014, the expected new part of the movie "X-Men" where such a  favorite with all the mutant again go save the world. <br /> <br /> Jackman himself, said that it was a great honor to play such a role for all these years: <br /> <br /> Wolverine, he is like a best friend. This hero - the beginning of my  career here in America. He still me. It's been 14 years and I am very  hard to believe. I love my character. I love to play it, and it's  probably my favorite part of my career. <br /> <br /> Recall, at the end of  the summer appeared information that 20th Century Fox Film, Hugh Jackman  offered $ 100 million for appearing in four films in the image of  Wolverine. <br /> <br /> What kind of projects is in question - new parts of  the franchise "X-Men" or "solo" pictures with clawed mutant in the  title role - not reported. But perhaps the fans of the actor and his  character - a man with superhuman abilities - will any tape, the main  thing that it appeared handsome Hugh.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCfYSna4wYU8jkq4-24ePwLErOa59QtG5hasrTNKydgFSIIuSpOpPsT88gBI_njFhSEzAfMBZoAtik0-8HLyfquAAVm-NYqPOUfy6crk3r09Uk7ybbJ3zla7c79oi1PF6U7vMfR1K-XM/s1600/Hugh+Jackman-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Hugh Jackman" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCfYSna4wYU8jkq4-24ePwLErOa59QtG5hasrTNKydgFSIIuSpOpPsT88gBI_njFhSEzAfMBZoAtik0-8HLyfquAAVm-NYqPOUfy6crk3r09Uk7ybbJ3zla7c79oi1PF6U7vMfR1K-XM/s1600/Hugh+Jackman-2.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKMUQEeX2j1cD27l49mRS7xB8k2lMOtI2pKxV19Aw3n8zezGIbVTFtMAMF-FrGgedKigwNtAQaPK0T__254VRoxxc-Wbp0B5NGWg9D4HqPUXutZw-bG-eYC6rO0Ei34925aFju70_eOBM/s1600/Hugh+Jackman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Hugh Jackman" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKMUQEeX2j1cD27l49mRS7xB8k2lMOtI2pKxV19Aw3n8zezGIbVTFtMAMF-FrGgedKigwNtAQaPK0T__254VRoxxc-Wbp0B5NGWg9D4HqPUXutZw-bG-eYC6rO0Ei34925aFju70_eOBM/s1600/Hugh+Jackman.jpg"  /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjugwTrNFyOOIoVWBRksPElj0pxkvY3cbMg4Az3IX2KkYb5jmb1kHa0Yi9Nv3Vd4gPAJXUCnFNDHmlFbsM2JL6r2_dM-3xgSXKECVm2ZBSWbc8itoVZgOjLfVPBXyvaV8vxR2ial7HUluY/s1600/Hugh+Jackman+will+again+become+a+Wolverine_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Hugh Jackman become a Wolverine" border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjugwTrNFyOOIoVWBRksPElj0pxkvY3cbMg4Az3IX2KkYb5jmb1kHa0Yi9Nv3Vd4gPAJXUCnFNDHmlFbsM2JL6r2_dM-3xgSXKECVm2ZBSWbc8itoVZgOjLfVPBXyvaV8vxR2ial7HUluY/s1600/Hugh+Jackman+will+again+become+a+Wolverine_1.jpg" width="400" /></a></div><br /><br /><center><script type="text/javascript"></script><script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"></script></center><br /><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script><ins class="adsbygoogle"      style="display:inline-block;width:468px;height:15px"      data-ad-client="ca-pub-8441125172513237"      data-ad-slot="1251463504"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({}); </script>

film Hugh Jackman news Hugh Jackman will again become a Wolverine

It was learned that the Hollywood star Hugh Jackman is going to star in the sequel to the movie actor fresh "Wolverine: The Immortal&q...

Prisoners: We cannot escape our nature

6:00 PM Tukiyooo 0

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Prisoners</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/wb/prisoners/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>Four stars. Rating: R, for profanity, torture and disturbing violent content</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 9.20.13</b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>            <br /><div class="MsoNormalCxSpFirst"><span style="font-family: Arial, Helvetica, sans-serif;">Revenge thrillers have become a violent — often tawdry — Hollywood staple.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Not this one.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1V-43GzrMCo6-CbCeQ0U3cuY0VB8BzZJcDt1JGArXfhyWzjJRrKGedLKpK64RxFQN2DWRcTiD2BzzWi-fQ5Gc5niVHkkjYUElQxYM5WU-B3tQRYqunFYmuxiAXY7-j2YRac7ljonG2Tg/s1600/Prisoners+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1V-43GzrMCo6-CbCeQ0U3cuY0VB8BzZJcDt1JGArXfhyWzjJRrKGedLKpK64RxFQN2DWRcTiD2BzzWi-fQ5Gc5niVHkkjYUElQxYM5WU-B3tQRYqunFYmuxiAXY7-j2YRac7ljonG2Tg/s400/Prisoners+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">When Alex (Paul Dano, on his back) is released for lack of evidence, Keller (Hugh<br />Jackman) angrily confronts the younger man, convinced that he knows more than he's<br />telling about the disappearance of two little girls. Given time to think and plan, Keller<br />will continue this "conversation" in a less public setting, and with a decidedly more<br />dangerous intensity.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Prisoners</i> is a brooding, atmospheric slow burn: part character drama, part mystery, part thriller ... and all-consuming. It has a distinctly European feel despite the small-town Americana setting: very much in the unsettling mode of French director George Sluizer’s 1988 chiller, <i>Spoorloos</i>, which he remade five years later with an American cast, as <i>The Vanishing</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Prisoners</i> comes from the capable hands of Québec-born director Denis Villeneuve, whose résumé includes tension-laden dramas such as <i>Maelstrom</i> and <i>Polytechnique</i>, and who garnered an Oscar nomination for 2010’s <i>Incendies</i>. Point being, Villeneuve has a superb sense of atmosphere and a knack for making the most innocent scene feel enshrouded by a blanket of malevolence.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">He also has a gift for drawing persuasively authentic performances from his actors, and that’s certainly the case here. While the entire cast is compelling, stars Hugh Jackman and Jake Gyllenhaal are sensational. Both are gifted actors; both have been fine before. Under Villeneuve’s capable guidance, they’re even better.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The story opens on a cold, overcast Thanksgiving Day in a working-class Pennsylvania suburb: the kind of town where kids set up lemonade stands. The homes and yards are tidy but looking a bit distressed: fading paint and weather-beaten vehicles a testament to folks barely hanging on during the tough economy.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Out in the nearby woods, Keller Dover (Jackman) offers a solemn prayer to God before encouraging teenage son Ralph (Dylan Minnette) to squeeze the trigger and claim his first deer. It’s a clean shot; as they drive the carcass home, Keller — a survivalist by nature — explains that they must be prepared at all times, must be their own strongest advocates, must expect to take charge when others inevitably fail.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Keller collects his wife, Grace (Maria Bello), and their 6-year-old daughter, Anna (Erin Gerasimovich); the family strolls up the street to celebrate the holiday with best friends Franklin and Nancy Birch (Terrence Howard, Viola Davis). Ralph pairs off with teenage Eliza (Zoë Soul), who disapproves of the elder Dover’s fondness for hunting; Anna and 7-year-old Joy (Kyla Drew Simmons) play together with the exuberance of small children.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Cinematographer Roger Deakins’ camera ... hovers. We feel nervous: can’t explain why. Even as the adults relax after the huge meal, Franklin sharing his lamentable trumpet skills, the utter normality of this staunchly American ritual — playing out, we know, in similar homes across the entire country — is pregnant with building tension.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And yet it’s simply an ordinary celebratory tableau. All is right with the world.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Until, suddenly, it isn’t.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br />  <div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Keller notices first: The little girls haven’t been seen for awhile. Everybody searches — initially calm, increasingly frantic — to no avail. Anna and Joy are simply <i>gone</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Police are summoned; the case falls to Loki (Gyllenhaal), a loner detective whom Keller instinctively mistrusts for his youth, his (supposed) inexperience and his failure to have a family of his own, thereby branding him as somebody who Simply Doesn’t Understand. Ralph remembers an odd, dilapidated RV that had seemed out of place when he and Eliza had taken the little girls for a walk earlier.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The vehicle is found; police arrest its driver, a quiet, withdrawn and deeply frightened twentysomething named Alex Jones (Paul Dano). Much as Loki wants this to be The Guy, there’s nothing on which to build a case. The RV contains no physical evidence; more to the point, the developmentally disabled Alex has the mind and social awareness of a child.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And yet ... he was driving the RV. By himself.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Keller seizes on this little detail, can’t let go of it; to him, this indicates proof. Then, when the police are forced to release this suspect for lack of evidence, Keller is present when Alex looks him straight in the eye and says something that nobody else hears: something possibly innocuous, but Keller thinks otherwise.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And, so, he takes matters into his own hands.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">On this level, Aaron Guzikowski’s enormously taut and clever script is ripped from contemporary headlines and ceaseless discussions of post-9/11 morality. If “society” — in this case, the local police — seems ineffectual or unqualified, is individual action appropriate? How far should it go? Do the stakes justify <i>any</i> approach, no matter how cruel or heinous? And, God forbid, what if you’re wrong?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Villeneuve subsequently cross-cuts between three simultaneous storylines: Keller’s determined effort to wrest Truth from Alex, with the reluctant participation of Franklin; the agonizing, engulfing stasis that smothers the wives and elder children left back in their homes, as every minute stretches into an eternity of self-recrimination; and Loki’s dogged pursuit of stray threads that offer the tantalizing hope of a lead, but inevitably go nowhere.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Still, something’s definitely not right; the vibes are off. Keller has badly misjudged Loki; truth be told, this young detective will move heaven and earth in order to solve this case. Nothing else matters, particularly the dubious glances coming from colleagues and his ineffectual oaf of a precinct captain (Wayne Duvall, everybody’s nightmare bureaucrat come to life).<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Pay close attention, because details matter; Guzikowski has orchestrated a wickedly fiendish puzzle. I haven’t seen a thriller this carefully layered, this meticulously crafted — one that builds to a slick payoff that puts all the pieces together — since M. Night Shyamalan’s <i>The Sixth Sense</i>, back in 1999 (when that fellow still knew how to make a good movie).<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Remember how knocked out you were, during that film’s climax? How ingenious you thought it was, at the moment of revelation? Guzikowski delivers the same sort of emotional wallop here.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Jackman unerringly navigates a tremendously difficult role, as Keller’s apparently facile personality — impatience, snap judgment, anger-management issues — yields to an unexpectedly complex and badly damaged soul. Keller sees himself as the ultimate father figure: the provider and protector, the White Knight. When he cannot fulfill that role, his notion of self disintegrates: Jackman’s very being — his commanding aura — seems to wither away, as if the bones supporting his frame are crumbling, turning every motion into a herculean effort.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But the fury never vanishes; if anything, that particular fire sucks an increasingly proportion of Keller’s life force, leaving him less able to think, feel or question the wisdom of his actions. On top of which, Keller never loses his perceptive edge: He may be stubborn and rash, but he’s not stupid.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">It’s quite a portrait, and we can’t take our eyes off Jackman. We wince time and again, wondering how Keller can make this already frightful situation even worse.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Gyllenhaal has the quieter, less florid role; Loki is procedure personified, a methodical investigator who believes that slow and steady <i>always</i> wins the race. That said, his need to remain calm, to resist the same vengeful impulse that governs Keller, has taken its toll; Loki’s uncontrollably twitching eyes betray his own bottled-up rage, his fear of impotence. When that fury does erupt — quite memorably, in one unexpected moment — the result is shocking.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Otherwise, Loki is deceptively restrained, Gyllenhaal’s misleading smile a truly dangerous thing. I love Loki’s interviews with persons of interest, either in the station house or out in the world; despite his scruffy, sleepless bearing, Gyllenhaal is almost charming. Until he isn’t.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Dano, with plenty of misfit characters in his past, is perfectly cast as the helpless, overwhelmed Alex. He radiates the frightened vulnerability and fragility of an injured sparrow; Alex simply is no match for the raw ferocity of a man such as Keller, who — in Dano’s terrified expression — looms as a monster from the worst possible nightmare. Terrified, yet also uncomprehending; the Alex/Keller dynamic is like watching a deaf/mute being tortured by a sadist who doesn’t realize that his victim cannot speak.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Or is it all a sham, and is Dano playing us, the way Edward Norton did so memorably, back in 1996’s <i>Primal Fear</i>? Keller certainly thinks as much; if we share that sentiment, do we become complicit in what comes next?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Howard is achingly raw as the conflicted Franklin, who wants no part of Keller’s “plan” but, at the same time, places far too much value on how he measures up in his best friend’s eyes. No matter what Franklin does, as a result, he’ll betray either himself or Keller; the misery of this Hobson’s Choice radiates from Howard’s agonized gaze.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Bello has the most tragic role, because Grace simply shuts down as the catastrophe continues through and beyond the second, third, fourth day. She has bought into her husband’s role as family protector, and cannot cope with his inability to bring their little girl home. Grace’s life force simply drains away.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Davis, alternatively, moves Nancy Birch in unexpected directions, suggesting that even the most civilized individual can be pushed too far. Thanks to the intensity of Davis’ performance, we’re not surprised by any of this.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Villeneuve and editors Joel Cox and Gary Roach tighten the screws with ruthless efficiency; despite clocking in at a generous 153 minutes, the tension never flags. Indeed, the intensity simply mounts, much like the long-form TV thrillers that the British deliver so well.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Prisoners</i> — great title, by the way — is quite a ride. See it quickly, before the many layers of Guzikowski’s deliciously twisty narrative are exposed by Internet spoilers and jerkwad TV personalities.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></div>

2013 drama Dylan Minnette Four Star Films Hugh Jackman Jake Gyllenhaal Len Cariou Maria Bello Melissa Leo Paul Dano Terrence Howard thriller Viola Davis Prisoners: We cannot escape our nature

Prisoners (2013) • View trailer Four stars. Rating: R, for profanity, torture and disturbing violent content By Derrick Bang • Origi...

The Wolverine: Claws for delight

6:00 PM Tukiyooo 0

<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><i>The Wolverine</i> </b></span></span></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>(2013) • <a href="http://trailers.apple.com/trailers/fox/thewolverine/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b> </b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>3.5 stars. Rating: PG-13, for intense sci-fi action, mild sensuality and fleeting profanity</b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 7.26.13</b></span></span></span></span></span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span>            <br /><div class="MsoNormalCxSpFirst"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’ve never understood why critics sharpened their claws so gleefully while savaging 2009’s <i><a href="http://derrickbang.blogspot.com/2009/05/wolverine-feral-fun.html">X-Men Origins: Wolverine</a></i>. Few bona-fide actors have inhabited a superhero role with the panache Hugh Jackman brings to this Canadian-born berserker, and that earlier solo adventure was just fine, in my book.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGkWl7OKW822i2UkgU6fTgOpkvY2uRRu2Owp4GSv12ErN7UKjI6HzXFeRM4G8MVJ56tS8BkDTKm7onx6lvLvllgulrEyGihXcUlbdA3s7oJa7ydm0JB7pdSG2jU7Q5dQY5Z0xWFpuT_88/s1600/Wolverine+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGkWl7OKW822i2UkgU6fTgOpkvY2uRRu2Owp4GSv12ErN7UKjI6HzXFeRM4G8MVJ56tS8BkDTKm7onx6lvLvllgulrEyGihXcUlbdA3s7oJa7ydm0JB7pdSG2jU7Q5dQY5Z0xWFpuT_88/s400/Wolverine+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Logan (Hugh Jackman) finds himself helplessly manacled, his claws unable to extend,<br />as the sinister Viper (Svetlana Khodchenkova) reveals that this imprisonment is<br />merely one element of her horrible plans. Still to appear: the dread Silver Samurai.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sure, it lacked the wit and overall snap of <i><a href="http://derrickbang.blogspot.com/2012/05/avengers-well-assembled.html">The Avengers</a></i>, but that’s true of most big-screen superhero epics. The more important observation is that <i>X-Men Origins: Wolverine</i> was far, far better than, say, <i>Daredevil</i> or either <i>Fantastic Four</i> bomb.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And, for the purposes of our discussion, Jackman’s newly released sequel. <i>The Wolverine</i>, is better still.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Writers Christopher McQuarrie, Mark Bomback and Scott Frank focus on the key element of Wolverine’s character: that he’s a modern <i>ronin</i>, a samurai without a lord or master to serve. This definition applies to the X-Men mythos in both comic books and big-screen adaptations, where Wolverine may or may not consider himself part of the team at any given moment, depending on recent events.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Building further on that core, McQuarrie & Co. have constructed a narrative from several of the X-Men/Wolverine comic book story arcs that found our clawed protagonist in Japan, a country that understands and practices the same warrior’s code of honor by which he lives. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Perhaps the surprise success of the big-screen adaptation of <i><a href="http://derrickbang.blogspot.com/2010/04/kick-ass-quite-kick.html">Kick-Ass</a></i> had something to do with this, thanks to that saga’s flamboyant, sword-wielding character of Hit Girl; perhaps it’s mere coincidence. Whatever the reason, we finally get live-action embodiments of Mariko Yashida and Yukio — characters co-created in the Marvel Comics universe by writer Chris Claremont and artists John Byrne and Frank Miller — and brought to excellent life by Tao Okamoto and Rila Fukushima, respectively (although costume designer Isis Mussenden shouldn’t have based the latter’s look <i>quite</i> so heavily from the aforementioned Hit Girl).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Angst-ridden journeys of the soul always make good sagas, and this one’s no exception. The core plot doesn’t always hold together — the barrage of double- and triple-crosses makes it rather difficult to separate some of the good guys from the bad guys — but the destination isn’t nearly as important as the trip itself.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One other caveat: McQuarrie, Bomback and Frank assume that viewers either know the Marvel universe or have seen all previous X-Men films, which I regard as mildly presumptuous. For the benefit of newbies, then, a few key facts left unexplained: <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Logan (Wolverine) is essentially immortal, thanks to a scientific process that laced his bones with the indestructible metal allow adamantium, and a “healing factor” that quickly repairs all wounds. He’s also much older than one would expect, and doesn’t show his age. Finally, he’s currently consumed with guilt and grief over having been forced to kill X-Men teammate Jean Grey, when she “went evil” as Dark Phoenix (that crisis depicted in 2006’s <i>X-Men: The Last Stand</i>).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br />  <div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This new solo adventure finds Logan brooding in an unspecified Canadian wilderness, surfacing to deal some payback to thrill-seeking hunters. That’s long enough to be noticed by Yukio, a feisty, sword-wielding samurai bodyguard. She has been sent to find Logan, and request that he accompany her back to Japan, where an old friend — Lord Yashida (Haruhiko Yamanouchi), a wealthy industrialist — wishes to say goodbye before he dies.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We’re granted Yashida’s back-story via a series of brief flashbacks that occasionally interrupt the core story, and we gradually learn that Logan saved the young Japanese soldier from certain death when American forces dropped its second atomic bomb on Nagasaki during World War II. A grateful Yashida tried to present his ceremonial sword to Logan at that point, but the latter gently refused, promising to collect it at some unspecified time in the future.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">That time appears to have arrived, and honor demands that Logan grant his long-ago comrade’s dying wish.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Logan and Yukio arrive at Yashida’s heavily guarded estate at a tempestuous time. The elderly industrialist hovers at death’s door, despite the best efforts of his doctor (Svetlana Khodchenkova), a sinister-looking, green-eyed blonde. Logan is equally curious about Yashida’s granddaughter, Mariko, who seems to have serious issues with her curt and condescending father, Shingen (acclaimed stage and film star Hiroyuki Sanada).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Business intrigue fills the air, with Yashida’s imminent death necessitating the transfer of his corporate empire to ... somebody. This instability has prompted threats from local Yakuza thugs, under the control of ... somebody. Then there’s the mysterious Kenuichio Harada (Will Yun Lee), a master archer and member of the Black Hand, a cadre of ninja warriors tasked with protecting House Yashida. Harada, in turn, answers to ... somebody.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ordinarily, these disparate elements would ring Wolverine’s heightened alarm bells, but he’s further distracted by an offer from the dying Lord Yashida, who claims — after years of medical research — to have discovered a way to remove Logan’s invulnerability, thus allowing him to live a normal life, and then die gracefully. Logan, beset by constant nightmares involving Jean Grey (Famke Janssen, returning to her role), finds the offer tempting. Perhaps.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But then all hell breaks loose, with Yakuza goons, Black Hand warriors, Yashida’s bodyguards and other persons unspecified shooting, slicing and dicing each other. Mariko appears to be the primary target, and so Logan takes her under his wing as they flee across Japan. Along the way, he discovers — to his horror — that his healing factor doesn’t seem to work any more. He’s being <i>hurt</i> ... and with Mariko to protect from massive enemy forces, this sudden weakness couldn’t have come at a worse time.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On top of which — and this really isn’t a spoiler, since her cover is blown pretty quickly — Yashida’s doctor turns out to be Viper, an über-deadly supervillain with a ghastly snake’s tongue and a rather novel method of dispersing venom.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Although these numerous elements allow director James Mangold to stage plenty of slickly choreographed action scenes — none better than a crazed, hell-for-leather skirmish atop the cars of a speeding bullet train — he also ratchets back to allow Logan plenty of time for soul-searching, along with time for the developing bond with Mariko.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Indeed, this film resonates — lingers as more than a flashy series of battle scenes — because of Logan’s deftly crafted relationships with Mariko and Yukio. Okamoto lends gentleness, dignity and unexpected flashes of defiant spirit to her complex portrayal of Mariko, who transcends the superficial characters generally found in such films. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’m reminded of the way both Akiko Wakabayashi and Mie Hama similarly humanized the otherwise cartoonish elements of 1967’s <i>You Only Live Twice</i>, along the way encouraging more heartfelt emotion from Sean Connery’s James Bond, than that film probably deserved. The same is true here; Okamoto is a well-conceived and sensitively played heroine-in-peril, who in true Shakespearean fashion must contend with a family not known for its finer instincts.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Logan’s growing bond with Yukio, on the other hand, is purely professional: the mutual admiration of professional assassins. Fukushima is equal parts sparkle and sass as this jokey, black-garbed killer with day-glo purple cellophane tresses, and the actress knows how to employ her mocking smile before dispatching another goon.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Khodchenkova is deliciously, shiveringly scary as Viper, clearly up to no good from the moment we meet her. Sanada is properly imperious as Mariko’s father, while Brian Tee is memorably smarmy as Noburo Mori, a jerk businessman betrothed to Mariko.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The blank-faced Lee, alas, doesn’t make much of an impression as Harada.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Production designer François Audouy has a field day with the various Japanese locales, from the soothing calm of a small fishing community, to the palatial surrounds of Lord Yashida’s home, and the mountain-hugging opulence of the third-act Big Bad Villains’ lair. Mangold and editor Michael McCusker pace their film well, so that it doesn’t flag at 126 minutes, and cinematographer Ross Emery grants both painterly beauty and big-city bustle to these disparate settings within the Land of the Rising Sun.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On the other hand, the after-the-fact (i.e. fake) 3D effects add nothing to the film, so save your money.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">All told, this is a solid superhero entry: a stylish romp with a welcome undertone of character pathos. And it clearly sets up events for next year’s <i>X-Men: Days of Future Past</i>, so be sure to linger in your seats until <i>all</i> the credits are done.</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></span></div>