These are the Days of an X-Men Renaissance

It's actually kind of amazing how much information we got about X-Men: Days of Future Past between when its production was announced in May 2012, and now. Of course, we learned the title, which immediately heralded back to the classic X-Men comic book storyline of the same name. We were disappointed that X-Men First Class director Matthew Vaughn was leaving the project to focus on other work, but then excited again when we found out that Bryan Singer - who had directed the first two wonderful movies - was returning to direct the newest installment of the franchise he helped build. We learned that it would combine the casts of both pre-existing X-Men storylines, with Patrick Stewart and Ian McKellan playing alongside their younger character counterparts of James McAvoy and Michael Fassbender. We learned that Hugh "Wolverine" Jackman would once again be the face of the series. Empire magazine published their special issue about the film with 25 collectible covers. We were given what seemed like half a dozen full-length trailers, countless promotional clips and set pictures, and the sight of speedy newcomer mutant Quicksilver (Evan Peters) eating an X-tra Bacon, Egg & Cheese biscuit in a Carl's Jr. ad (yeah, that was kind of stupid). We also got some bad or potentially bad news, ranging from the complete cutting of fan favorite Rogue (Anna Paquin, whom the trailers had initially featured) to the current sexual assault allegations leveled against Singer. Point being, there was an almost insane amount of hype surrounding this entry to the X-Men film franchise, almost too much to actually hope the final product would live up to expectations. Well guess what? It lives up to expectations. And in some ways, it surpasses them.

Just promise me there'll be no singing.

Days of Future Past takes place within two disparate timelines. In a chaotic, post-apocalyptic future, Professor Xavier and Magneto (Patrick Stewart and Ian McKellan) lead a small band of mutants trying to avoid extermination at the hands of mutant-hunting Sentinels, robots built during the time of Xavier and Magneto's youth. Through one of the group's ability to send people backwards in time (because, you know, the story demands it), de-facto tough guy Wolverine's mind is sent back in time to his younger body to prevent the actions that have brought about the chaotic world in which our heroes live. When he wakes up in 1973, he must unite the two young mutant leaders, now at odds with one another, into a team that can halt the future war on mutant-kind before it ever starts.

... I'm sorry, was I saying something?

The best thing about Days of Future Past is that it combines the greatest elements of the X-Men films. For the old-school fans, you have the return of several classic franchise actors, including Halle Berry (Storm), Shawn Ashmore (Iceman), and Ellen Page (Kitty Pryde), not to mention Stewart and McKellan. For fans of the most recent First Class kinda-reboot, you have the the unique (for a superhero film) 1970's atmosphere, the best from the cast with McAvoy, Fassbender, Jennifer Lawrence and Nicholas Hoult, and the main focus of the narrative. And of course, there's Jackman in the lead role once again, not that the casting agent would let you forget. Singer melds these disparate parts fairly well, mixing timelines and art styles with precision, flipping from young Xavier's private plane in one scene to Sentinels battering down a door in the future, and the transition works without any loss of cohesion. The fact is, if you liked ANYTHING from the previous X-movies, you'll find plenty to enjoy here.

One of these things is not like the others...

But Singer doesn't just rely on combining nostalgic elements when it comes to building his latest effort, and his newest additions make for a nice compliment to the preexisting franchise. Games of Thrones' Peter Dinklage is perfectly at home as an adaptation of classic X-Men villain Bolivar Trask, putting an appropriate face to the public discrimination and fear that has long been the dividing line the team from the likes of the Avengers or the Fantastic Four. And even Evan Peters' take on Quicksilver is surprisingly effective. Yes, that Carl's Jr. commercial was an incredibly poor marketing idea, and at first glance his costume is just plain silly. But when Singer actually uses the character in the context of the movie (in a slow-motion action sequence set to Jim Croce's "Time in a Bottle"), it's such a thrill ride that you wish it wouldn't end. Sadly, the character practically disappears after this, but hopefully he'll make a re-appearance further down the line, if the directors can capture the same level of fun and excitement that Singer nailed in that one scene.

Fifty bucks on him gutting the hippie!

And that actually sums Days of Future Past up quite nicely; it's fun, and it's exciting. People haven't been enamored with this particular superhero franchise of late, from the spottiness of the Wolverine movies to the bad script elements of First Class to the plain awfulness that was X-Men: The Last Stand. But thankfully Days of Future Past rises above those faults. The cast is perfect - even Lawrence finally seems comfortable sitting in the bright blue skin of pseudo-villain Mystique after conquering just about every other role she's been handed - and the script is not just well written, but includes more than a few inside jokes for the lifelong comic book fans. In fact, that the story was based on such a well-known comic book storyline is a main reason this new entry was hyped so heavily, and so effectively. And yet this isn't just a pandering adaption, or at least if it is, it's hidden well enough to not be immediately insulting to those paying for tickets. Beyond that, the visuals are stunning, the dialogue and character development are amazing, and - especially important when Amazing Spider-Man 2 had so many jarring, bloated bits - it doesn't feel like too much has been crammed in to make the movie unwatchable. Instead, just the right balance means that you'll be riveted to your seat for the entire 131 minutes.

They act like they've never seen a man in purple armor and a cape before... oh, wait...

In closing, I think it's safe to say that after years of mediocrity and unfulfilled potential, the X-Men franchise is back on its feet and on a path to glory with Days of Future Past. Sure, the story has a few hiccups, some parts kind of rely on the audience remembering the plots and unseen characters of the previous films, and the ending isn't particularly clear how the universe will play out in future films. But despite the weariness the hype might have on your decision whether or not to see this in the theater, let me assure you that this is a superhero movie well worth a trip to your theater, even if you're not a fan of the genre. It might be one of the best of its kind in recent years, and there's no better way to celebrate that than seeing it on the big screen.

Sleep, Little Baby

If there's only one thing you can say about Danny Boyle, it's that he refuses to be easily defined. The visually-distinctive director has been making films for almost thirty years, and unlike many artists who have been working for that long or longer (*cough* Spielberg *cough*), his work has never felt like a copy of his previous efforts or constricted by a lack of risk-taking. He's happy working in any genre, whether it be drama (Trainspotting), adventure (The Beach), horror (28 Days Later) or science fiction (Sunshine), never spiting a story because of where or how it takes place. And of course he has now broken through to mainstream audiences with his heavily lauded (and fairly lucrative) Slumdog Millionaire and 127 Hours. Those movies engaged audiences, drove them to the theaters, and had them conversing with one another for weeks after they had finished watching.

Trance is not like either of those films. Instead, it's more of a throwback to Boyle's early methods of storytelling, and in more ways than one: it was actually an idea brought to him way back in 1994, after he had finished filming thriller Shallow Grave, by screenwriter Joe Ahearne. While he didn't take it on at the time, Ahearne did eventually turned the screenplay into a television movie in 2001. But Boyle never forgot the tale, and recently he finally pushed to get it made. And while it's certainly flown under the radar here in 2013, Boyle makes enough of an effort to ensure you should check it out in its inevitable DVD release.

In modern-day London, Simon (James McAvoy) has assisted a robbery crew in their theft of a priceless painting. But when the gang's leader Franck (Vincent Cassel) inspects their haul, he discovers that he only possesses an empty frame, the art itself having gone missing. Suspecting treachery on Simon's part, he attempts to torture the location of his prize out of the mild-mannered man, only to learn that Simon has no memory of hiding the painting due to a head wound he suffered in the heist. Desperate and angry, Franck hires the services of hypnotist Elizabeth (Rosario Dawson) in an effort to get Simon to remember. But when retrieving that memory becomes more difficult than intended, it will take all of Elizabeth's effort and all of Franck's patience to see this painting doesn't disappear forever.

As would any movie having to do with the human memory, Trance is definitely very complex. Much like Christopher Nolan's Inception, there are multiple layers of reality happening all at once, with nothing counted on to be as it seemingly appears. There are vast departures from that 2010 blockbuster however, not the least of which is that while Inception found itself quite bloated and unbelievable by the end, Trance's goals and machinations are far more simple. Character motivations are relatively simple, making them more easily sympathetic and understandable. What remains a nuisance, however, is the storytelling itself, with Boyle waving the camera around and moving between past, present, dream and reality with a madman's ambition. Sometimes it does work, but at others it's a bit too trippy to really be taken all that seriously.

At least the characters are interesting enough to keep us enthralled, even when the story gets a bit away from us. James McAvoy is an excellent, genre-defying actor who absolutely had to be top-notch for this movie to be good, and he passes that test with ease. As a performer, he has to do the most transforming, as the character we see at the end of Trance is a far cry from the one we are introduced to in the beginning. Rosario Dawson's Elizabeth is also intriguing, though marred by bland personality through most of the film. From moment one we're aware that something about her is off, but a good performance and excellent writing make sure we're never truly sure until Boyle is ready to let us in on the secret. Vincent Cassell is by far the weakest of the cast, his thick French accent unable to convey most proper emotions in English. However, as a standard thug/bad guy he remains effective, a violent foil to McAvoy's more timid protagonist.

But despite some clever trickery and some really good acting, there just isn't enough here to recommend Trance to the average movie-going public. Boyle has made some real head-turners in the past, and he certainly has enough twists here to keep the story from becoming stale and unwatchable. However, there's not enough intrigue to make it worth the ticket price, especially when the ending will leave you scratching your head in confusion and frustration. This is certainly an okay movie, just not one I would recommend going to the theater to see. Instead, check it out on DVD, where the minuscule budget, bare bones story, and derivative elements will play much better on a smaller screen. It's not bad, just not up to Danny Boyle's usual level of excellence.

Christmas in December

Usually, when I make a morning to visit the theater, I know exactly what I'm going to see, and do so well before I leave my home. Whether I expect to see an amazing film like Drive or a cringe-worthy one like Red Riding Hood, I generally know exactly what type of experience I'm getting myself into. Sometimes I decide this the morning of. Sometimes it's the day before that I officially make plans. And sometimes I plan days in advance as I figure out my schedule. But on this particular day, I suffered a strange occurrence: I had no idea what I actually wanted to watch. As I've seen most of the current film releases by now, there was very little available that I had not yet caught. Three acceptable options were playing at approximately the same time, and so with a shrug I told myself that I would figure it all out once I'd made the actual trip to the theater. Even when I arrived, it was not an easy decision. Should I see The Descendants, the popular adult drama directed by Alexander Payne and starring a used-looking George Clooney? Should I instead partake of My Week with Marilyn, the semi-biopic starring Michelle Williams as the titular movie star and ingenue? Both came highly recommended, but I found myself honestly lacking in interest for serious dramas, and decided to put them aside for the time being. Now, as for Arthur Christmas... well, an animated family film was JUST what my mood called for. With that in mind, I bought my ticket and gaped at the shockingly-empty theater that housed my morning's excursion, wondering what I was in for.

A "one-horse open sleigh" it ain't

Every Christmas Eve, we are told as children that Santa Claus travels around the planet in a reindeer-driven sled, delivering toys to all the boys and girls of the world. Judging if you're naughty or nice, he crawls down your chimney, fills the stockings with goodies and leaves exactly what you wanted under the Christmas tree. Ah, what we believed when we were young, right? Well, what if it really WAS true? How would it be possible? Arthur Christmas answers these questions, introducing to the audience a new, more updated version of Christmas Eve events. Santa Claus (Jim Broadbent) is still in charge, the latest in a long succession of Santa's, acting more as a figurehead while his legion of elf special forces and a giant futuristic air-ship do most of the heavy lifting. The entire operation is practically and efficiently run by his eldest son Steve (Hugh Laurie), who covets his chance to become Santa once his father retires. Santa's dedicated wife (Imelda Staunton) simply can't wait for him to quit so they can spend their twilight years together. His father, the previous Santa Claus (Bill Nighy) is bored with his own retirement and loves to taunt the newfangled methods Steve has introduced to his former position. And then there is Arthur (James McAvoy), Santa's younger son, whose passion for Christmas cannot be denied. However his bumbling, worrisome ways grate on others, and he is out of his element in a world in which Christmas has become so numbers-oriented that children are identified by serial numbers and addresses than names and what is in their heart. When an error occurs and a child is accidentally missed, Arthur's belief in Christmas spirit drives him to, against all odds, deliver this gift so as not to let a little girl think that Santa doesn't care about her.

Is it a puppy? I bet it's a puppy!

It's amazing that the concept itself is presented so soundly. In just the opening ten minutes, Arthur Christmas does all it can to halt any arguments you might have against its feasibility in their tracks. Everything is covered. How Santa avoids detection? Check. Homes without chimneys? Check. Large toy delivery? Check. What Santa needs with all those cookies and glasses of milk? Check. Every detail was planned out and properly answered here, even going so far as to cover what happens when kids wake up at inopportune times. Brilliantly planned down to the last detail and with military precision, there is not a moment in the opening sequence (or for that matter, anywhere in the film) that feels any less magical than when you ran downstairs on Christmas Day.

Obviously they took it literally when I declared this film "the bomb"

Of course, what makes Arthur Christmas truly magical are the characters we meet along the way. Arthur himself is such a perfectly-realized blend of comedic neuroses and good-natured innocence that you forget that he's played by an actor best known for his serious, dramatic roles. James McAvoy impressed me with his ability to mold himself into the part, and his character never gets dull or overly-righteous with the message he carries. I've never heard Hugh Laurie do voice work in an animated film, but just the fact that a skinny, older Brit can pass for a cocksure, buff and brilliant (okay, that part I can believe) young man with his vocal prowess is impressive indeed. Right from the start we can tell that Steve is lacking in the empathy needed to be the next Santa, and yet we can't outright dislike him, as the character refuses to be completely irredeemable. Jim Broadbent plays the elderly Santa extremely well, his pitch-perfect portrayal of a past-his-prime legend who doesn't know when to hang up the hat a well-thought-out fit between his polar opposite sons. Bill Nighy is of course wonderful as Grandsanta, quick to judge the newer implementations used for Christmas while pining for his glory days. Grandsanta's a few ornaments short of a Christmas tree, and Nighy plays up that irreverence as he so often does in comedic roles. Best of the cast though might be Emmy nominee (for her role in the BBC/HBO series Extras) Ashley Jensen as Bryony, an elf obsessed with gift-wrapping who follows Arthur on his quest. Not only is each character great, but the way in which they come together by the film's end (of course they do, it's a family film) feels special, as each family member learns to overcome their mental locks to see the story through to the correct conclusion.

Oof, if that was Santa, I'm glad I never woke up early

And it doesn't hurt that the animation (a joint venture of Aardman Animations and Sony Pictures Animation) is a clear winner in keeping the audience entranced. While not as amazing visually as, say, Rango, Arthur Christmas engages in a more cartoonish look that expresses its comedic elements nicely. When it DOES step up the animation a notch however, its one of the prettiest movies this year. Lately I've been seeing far more competent use of 3D technology in films, especially animated ones. Arthur continues this trend, as the immersion that 3D provides actually serves to draw you in more, as opposed to jarring you with obvious flaws. The great visuals also help the multitude of physical jokes appear more natural, as if they were being performed by live actors instead of being generated on a computer.

Never... Ever... wear that sweater again

In fact, the only real complaint I have about Arthur Christmas is that I was forced to watch a stupid music video featuring Justin Bieber singing what seemed to be a mix of Christmas caroling and Michael Jackson. It was situated before the actual film began, and what would normally be a throwaway in the Special Features options on a DVD release was instead the first instance in memory of being punished for actually showing up to a movie on time. Bad decisions aside, I am more than happy that I decided to make Arthur Christmas my eventual choice for movie mirth on this particular day. Director Sarah Smith knew the tale she wanted to tell, and despite inexperience making feature films this was arguably the best time I've had in a movie theater this year. Arthur Christmas has a wonderful story, exquisite pacing, and more than enough emotion to moisten the lenses of my 3D glasses. You might not guess going in (I certainly didn't), but Arthur Christmas ends up as my #5 Film for 2011. Even if you don't have kids yourself, you've got to go out and see this release, as even as a full-grown adult you will find yourself remembering what made Christmas so special when you were the little one chomping at the bit hoping to catch Santa making his yearly visit. Arthur Christmas makes you want to believe again.

Class is in Session

When I first heard that the X-Men film franchise was going to be rebooted with an origins story of  Professor X and Magneto, I wasn't sure what to think. On the one hand, another X-Men film in the same vein of the first two series titles is overdue, as the superhero team is one of the more popular comic book organizations out there with hundreds of interesting characters and forty years worth of interesting stories to tell (there's a reason Marvel Comics has had dozens of spin-off titles to accompany their original X-Men series). On the other hand, well, X-Men Origins: Wolverine was merely okay, and don't even get me started with all the mistakes made with X-Men: The Last Stand. Thankfully X-Men First Class has a lot going for it. First you have the amazing cast that includes James McAvoy, Michael Fassbender, Oscar-nominee Jennifer Lawrence, Kevin Bacon, January Jones and Rose Byrne. Next you have director Matthew Vaughn, who has done an amazing job with story-based action films Layer Cake and last year's Kick Ass. Finally, the film seemed to step away from the popular-but-overused characters of Cyclops, Jean Grey and Storm to allow other, newer characters to grow into the franchise. That would allow for the inevitable staleness of the previous trilogy's cast to refresh, and make these characters more viable down the line. Still, in a summer full of superhero film fare, I wasn't sure whether X-Men First Class would rise to the top, or sink deep beneath the waves of the likes of Thor, Captain America and Green Lantern.

Obligatory cast shot! And go!

As I stated before, the film focuses on Professor Charles Xavier (McAvoy) and Erik Lehnsherr (Fassbender), and takes place during the height of Communism and the Cuban Missile Crisis. When CIA operative Moira McTaggert (Byrne) accidentally discovers the existence of mutants while conducting investigations into a secret society called the Hellfire Club and its leader, Sebastian Shaw (Bacon), she asks for help from Xavier, who is the foremost expert on genetic mutation. Of course, he is no mere observer of these events; Charles possesses a mutation himself, full-blown telepathy that he uses to read minds and communicate with others. With the CIA's help, they put together a full team of heroes to combat Shaw, including Raven Darkholme (Lawrence), a shape-shifter and Charles's childhood friend; Dr. Henry McCoy (Nicholas Hoult), a malformed athletic mutant trying to discover a cure to his physical appearance; Sean Cassidy (Caleb Landry Jones), who can create sonic bursts with his voice; Alex Summers (Lucas Till), who can absorb and discharge blasts of energy; and Lehnsherr, a former concentration camp victim with a lifelong grudge against Shaw and an affinity for moving metal with his mind. Together they hope to stop the Hellfire Club, whose goal is global domination and the rise of the mutant as the world's dominant species. From these beginnings comes the origin of comics' most unique superhero team.

Emma Frost about to come out of your screen, Ring style

X-Men First Class features one of the best stories I've seen from the superhero genre in quite some time. Almost epic in feel, the film doesn't rush a single detail, introducing the audience to Charles, Erik and Raven at young ages and the manifestation of their powers, before setting up the film's main story. Even then it doesn't rush things; even though Charles and Erik are the focus of the tale, they don't even meet for the story's first third. Nothing is sacrificed in the name of forcing the plot forward, and every pain is made to humanize each of these characters before going full steam ahead. Once everything is in place, First Class does go ahead quickly, but nothing feels lost to time spent. Even though the film runs well over two hours, it doesn't seem like anything close to that, as looking back I'm sure I could have sat through another hour comfortably.

Seems wrong to see Magneto wearing the classic X-Men colors... that doesn't last long.

One of the things I most enjoyed was getting used to all the different characters, many of whom haven't appeared in previous X-Films. Though comic fans will be quick to point out that the first actual X-team (according to their bible which is Marvel's database) was comprised of Cyclops, Beast, Angel, Iceman and Jean Grey, I'm okay with only Beast getting this first cut. Of the other notable additions, it was good to see lesser-known X-Men Banshee, Havok and Angel make their debuts on screen, even if the characters aren't nearly as fleshed out as are Professor X and Magneto. Sure, it's odd seeing Magneto and Mystique (two future X-Men villains) wearing the colors of the good guys, but the payoff by seeing their turns to the other side makes it all worth the while. I also loved the dichotomy between the mutants like Xavier who wanted to blend into society and could because they exhibited no physical abnormalities, and those - like Mystique and Beast - who knew they never could because they had to hide theirs. It made for great sources of conflict amongst the team, and a great commentary on human society as a whole.

Somehow, I don't think "I didn't do it" is gonna cut it.

The casting was also amazing, with only a few actors failing to live up to their perceived talents. McAvoy is once again amazing as Charles Xavier, as he proves himself a talent worth following. Somehow he's been overshadowed by his co-stars in many films, but any who don't appreciate the seriousness McAvoy brings to every performance simply can't recognize his immense charisma and acting chops. Of course, as I say this, he IS overshadowed by one of his co-stars by quite a degree. Michael Fassbender has amazed me this past year, with starring turns in Centurion and Jane Eyre catapulting him to stardom. Hell, even his performance in the otherwise-awful Jonah Hex was more than worth the price of a $1 rental. Fassbender far and beyond exceeds the talent potential for ANY action film, let alone one with superheroes, and so his role here as one of the X-Men's greatest enemies is a tour de force (see, they can't use that term just for serious films anymore) for the genre. Simply amazing. Bacon, meanwhile, feels half-baked. While he really seems to be trying in some parts, you can't help but feel that even HE knows he's just a placeholder for the next generation of X-Men villainy. Better is Shaw's number one, Emma Frost, played by Mad Men's January Jones. Though hardly a deep role, Frost has gotten more or less the shaft from previous films despite being one of the most important characters in the X-comics today. Still, Jones barely shows any range in her monotonous dialogue, though that only exhibits that she was perfectly cast for the role. Rose Byrne is good if underused as Moira McTaggert, a CIA operative who seems to be assisting the mutants while not actually seeming to be doing a whole heck of a lot. She's another actress with huge potential; it's a shame this film doesn't make use of it. Most of the secondary characters, played by Till, Jones, Hoult and Zoe Kravitz, do some interesting things but don't really get a chance to shine like McAvoy and Fassbender. At least they're more interesting than the "normals" like Oliver Platt as a nameless CIA agent. Most disappointing however is Jennifer Lawrence. Lawrence, who rightfully earned an Academy Award nomination for last year's Winter's Bone, doesn't seem fully in command of her character, Mystique. Compared to just about everyone else on the cast, her dialogue seems forced, with little to no conviction in her delivery. That's not a good sign, but hopefully this is a fluke and not a sign that her performance in next year's Hunger Games will be less than stellar.

"The Magneto!" is the new dance hitting Hollywood this year

Thankfully, that is the only major quibble I had with X-Men First Class. While I thought some of the special effects and makeup work was less than amazing (and really, no Stan Lee cameo?), the strong story and acting from most of the parties involved more than made up for any misses director Matthew Vaughn might have made. So far, it's the best superhero film I've seen this year, coming in at #3 for 2011. If you absolutely have to see one comic-book film this year, make it this one.

Wanted: Great Entertainment

The August issue of Details Magazine contains the following quote: "James McAvoy made out with Angelina Jolie, and you didn't." Frankly, I don't need Details to tell me that my fantasies haven't played out quite as expected, but the first trailer I saw of Wanted made me lean back and go "Whoa."

It was lust at first sight; all that violence; all that action; all that Angelina. Even the aforementioned McAvoy seemed to fit the part, and when you add a deep-voiced superstar like Morgan Freeman to the mix, you have a truly intriguing story, cast, and overall movie you just HAVE to watch.

Imagine to my surprise, then, that Wanted, directed by Timur Bekmambetov (Night Watch), was actually based on a miniseries written by Ultimates scribe Mark Millar and drawn by Alex Ross wannabe J.G. Jones (Final Crisis). Even more astounded now, I decided I had to see both, starting with the sure-to-be-fantastic movie.

One thing to remember with Wanted: The Movie is very much based in reality. Even the opening sequence, where we see man leap through a plate glass window out of a high-up office tower over to ANOTHER tower a few hundred yards away to eliminate his would-be assassins, you hardly feel like you've left the modern-day world. This is also true when you see people shoot bullets out of the air, curve bullets or do other fits of daring-do... normal people wouldn't be able to do these things, but our heroes can.

And that brings us to McAvoy, playing the role of Wesley Gibson. Wesley is like you or me. He hates his job. He hates that his best friend is fucking his girlfriend when his back is turned. He hates his father for abandoning him at eighteen weeks old. He hates his ergonomic keyboard. He takes medication for severe panic attacks. Okay, maybe not QUITE like you or me. Wesley is used to being pushed around. He's never been the assertive type, used to being stepped on and never sure how to stop it. Along comes Fox (Jolie) who tells him his father was killed in our opening scene not too long ago, and after a bit of wild driving, she brings him to the Fraternity, led by the great Freeman as Sloan, who would train Wesley to be good enough to kill the rebel assassin who killed his dad.

First of all, the action sequences are fantastic. The only real hiccup is the driving scene with Jolie and McAvoy being chased by the bad guy (King Kong's Thomas Kretschmann) in which the camera gets a little too close and obscures some of the action. Besides that, though, the movie's action scenes are flawless, constantly letting blood and bending the fabric of reality to make everything both believable and unbelievable at the same time. I always knew Jolie could act, and McAvoy is fantastic as both the sniveling worm he starts as and the hardened killer he becomes. Other strong performances include Kretschmann and Common, who plays one of Wesley's trainers. Sadly, it seems that Morgan Freeman mails in his performance, though it didn't hurt the movie any with him at only half-strength. There are also some scenes that are a little TOO out there (animal rights activists will have trouble with a couple of scenes, though a slight reminder that this is just a movie should alleviate those concerns) and ridiculous, but nothing that detracts from the final product.

In all, Wanted is a fantastic movie. It's got acting, action, mythology and just plain bad-assness, all the while rooting itself in the real world in a completely believable fashion. I highly recommend it to any who haven't watched it yet. And if you have, make definite plans to pick it up on DVD, which it probably will by this Christmas.

I wish there were an easier way to compare the movie and the graphic novel well. I definitely liked the book, but I LOVED the movie so much more. However, it's hardly an even playing field, as the two mediums are so different that their disparate traits outnumber their similarities by a wide margin.

First of all, the majority of the story takes place in New York City (in the movie, it was Chicago). It starts off the same though, with anger and violence ripping through the first few scenes before we even get to Wesley. It's obvious from the start that there are some issues that take place in the book that don't place in the movie (racism, gender degradation, homosexuality, even excess violence).

But probably the most pointed difference between the book and the movie is that in the book, the Brotherhood are in reality a league of super villains. (Note: That wasn't a spoiler, if you read the FIRST ISSUE you'll see I'm right; they lay it out up front) Years ago, they organized, teamed up on the population of super heroes, and killed all of them. Then they wiped the memories of these heroes from the minds of the populace and now they run the world like a black-curtained Illuminati. As a member of the Fraternity, you can destroy, kill, rape, and rob with impunity, never being blamed for your actions. And Wesley's in since his dad was The Killer, a super assassin who never missed. Obviously, this changes the whole scheme of the universe, but I still liked the movie's ability to ground in reality, while the books seems far-fetched and full of holes.

Jones definitely loves his celebrity faces, as the main characters in the story look like Eminem, Halle Berry and Tommy Lee Jones. His art is actually very good, though some flashback sequences are drawn by Dick Giordano (The Phantom) and don't work as well. Jones is definitely the superior artist, and the vulgar and violent undertones are done well here.

Disappointing though is Millar's writing, which doesn't adopt the redemption story in the movie and instead the message the book seems to be trying to get across is "Fuck the world". On top of that, uninspired characters (Sucker, Fuck-Wit and Shit-Head are some such villains who don't amount to crap) and a general plot malaise don't quite live up to the clever dialogue and occasionally hilarious one-liners. If this had been more like the movie's story, instead of ANOTHER super-hero story, it might have been a little more original and stood out from the acres upon acres of indie super stores that exist out there today.

I picked up the Assassin's Edition of the Wanted novel, which includes some fantastic concept art, storyboards, covers, character dossiers and creator interviews. These are almost worth the price of admission alone, but I guess it depends on how much you like extras.

So there you have it! For once, the movie is BETTER than the book! Who'd a' thunk it? I hope you enjoyed this review, we're looking forward to the next Latest Issue!